I have nothing against filmmakers making films which blend genres - I recognise that it is a brave and experimental step to take. But there is a reason why such films are not attempted very often and that is the risk that, rather than capture (in this case) the audiences for both sweet comedies and violent crime thrillers, you might end up losing both audiences.
The indifferent box office of this film testifies to the fact that it may have discovered this, notwithstanding the vocal enthusiasm of many of those posting here.
The concept was a good one, but my feeling was that the film was neither wholly successful, nor wholly unsuccessful. I laughed at times - quite a lot, in places - and I felt for the central character, stuck in a dilemma of which she was largely unaware. But the comedy element - undoubtedly the more successful of the two parts - never worked properly, due to the harshness of the crime subplot.
Morgan Freeman, as usual, brought a huge chunk of gravitas to the proceedings, yet I found his character utterly unbelievable - an experienced hit-man who, on the eve of retirement, falls for his target, and who is given to uttering large chunks of compassionate philosophy? Sorry, but I don't think so. I found Chris Rock's character much more convincing, but so vile that I was unable to sympathise or identify with him. Was I meant to? When he was killed, it was such a relief that I expected Freeman's "nice hit-man" to say "Good!"
Greg Kinnear played convincingly in a fairly thankless part, but this was always Renee Zellweger's film. Both she and Kinnear played the situation absolutely straight, and the humour arose from the situation rather than the quirks of the character. And the film is worth seeing for the scene where Betty's mental block is shattered, and she is suddenly made to realise that something very wrong is happening. The craft in this piece of acting shows that she is well worthy of her Oscar.
The indifferent box office of this film testifies to the fact that it may have discovered this, notwithstanding the vocal enthusiasm of many of those posting here.
The concept was a good one, but my feeling was that the film was neither wholly successful, nor wholly unsuccessful. I laughed at times - quite a lot, in places - and I felt for the central character, stuck in a dilemma of which she was largely unaware. But the comedy element - undoubtedly the more successful of the two parts - never worked properly, due to the harshness of the crime subplot.
Morgan Freeman, as usual, brought a huge chunk of gravitas to the proceedings, yet I found his character utterly unbelievable - an experienced hit-man who, on the eve of retirement, falls for his target, and who is given to uttering large chunks of compassionate philosophy? Sorry, but I don't think so. I found Chris Rock's character much more convincing, but so vile that I was unable to sympathise or identify with him. Was I meant to? When he was killed, it was such a relief that I expected Freeman's "nice hit-man" to say "Good!"
Greg Kinnear played convincingly in a fairly thankless part, but this was always Renee Zellweger's film. Both she and Kinnear played the situation absolutely straight, and the humour arose from the situation rather than the quirks of the character. And the film is worth seeing for the scene where Betty's mental block is shattered, and she is suddenly made to realise that something very wrong is happening. The craft in this piece of acting shows that she is well worthy of her Oscar.