The Beaver is an unusual, compelling film. In a way, it is rendered even stranger by director Jodie Foster's decision to avoid any traces of Michel Gondry-esque style in telling a deeply quirky story of a depressed toy-company CEO (Mel Gibson) who, after a spectacular failed suicide attempt, begins communicating via a ragged beaver hand puppet. It's a bid to separate himself from certain negative aspects of his personality; the English-accented beaver, however, turns malevolent and controlling. Foster presents the material as a straight suburban-strife drama, though there are unavoidable doses of zany gallows humor. Not nearly as much as you might expect, though. Call it (Not So) Ordinary People.

The secret to the film's success, as well as the reason it's being given a quiet, almost embarrassed limited release, is the one and only Mel Gibson. This is one of the finest and most nuanced performances of his career. For most of the film, he's playing two characters in the same shot. On his face and particularly in his eyes, we see Walter, a pitiful man who has passed desperation and become a living-dead depressive. But with his voice, often affecting a Ray Winstone-esque accent, Gibson brings the beaver to vivid life. A more intimate version of what Nicolas Cage accomplished in Adaptation., it's the acting equivalent of tapping your head and rubbing your belly at the same time, and Gibson never falters. His performance also plays as a type of confession. The bouts of rage, the very low lows. There's even a scene where Walter flogs himself. Almost everyone will view The Beaver via the prism of the actor's personal life and recent controversies, and this is a rare case where such considerations enrich the performance rather than distract or detract from it.

Though almost ignored in the film's ad campaign, a significant portion of The Beaver is devoted to Anton Yelchin as Porter, deranged Walter's sullen teenage son. Porter is paid by other students, including a troubled cheerleader played by recent Oscar nominee Jennifer Lawrence, to write term papers. A love story blossoms between the Yelchin and Lawrence characters, and it's nicely handled and more effective than the similar romantic elements in last year's It's Kind of a Funny Story. Porter also covers a wall in his bedroom with post-it notes describing characteristics of his father (both physical and emotional) he hopes to avoid or exorcise. One of The The Beaver's most persuasive and poignant elements is its exploration of the dangers of generational wounds and estrangement.

Less effective is an underdeveloped subplot set at Walter's office. He introduces a new beaver toy, and it becomes a Tickle Me Elmo-type sensation. I'm not sure if this was included to show Walter's professional side and/or to lampoon the toy industry, but it's unnecessary and, thankfully, quickly discarded.

I had rather mixed emotions at the end of The Beaver. This is a compliment. I was sure I had watched a very good film. It's just a hard movie to put in a box, and it's a movie with more hard-won suggestions than easy answers when it comes to the tough issues, including depression. And Gibson gives an absolutely riveting performance. The tortured star's turn alone is enough to warrant a hearty recommendation.

B+

A surprisingly involving fairy tale told larger than life and set in the modern day.

Mel in dual roles is superb in both.

Jodie Foster couldn't hire Jodie Foster to play such a perfect Jodie Foster role.

The side story woven through - - with Anton Yelchin (who I'm kind of sick of right now) and the promising Jennifer Lawrence (she's in the zone) - - was a most enjoyable mirroring diversion to the spectacular in the center ring.

We don't get that many puppet movies anymore, but this is a great one!

Who can resist getting caught up in the sad, strange, unpredictable world of The Beaver.

Who?



225 out of 5.

I thought it was fantastic. The beginning was a bit shaky and I didn't liked the 'quirky' choice of music though in some parts of the film. Mel Gibson was terrific and gives an award worthy performance. Yelchin/Lawrence were really good too and I liked their story. B+

8/10 -> B

Surprisingly charming, sweet and yet very sad at the same time. Definitely an underrated movie. Great performances from pretty much everybody.

It's good for quite awhile. Then the movie wraps everything up in a little too neat a bow. Anything interesting or meaty in the final act happens off camera.

Gibson's great. The script is shit.

** (C)

It was decent.

B-

I liked it a lot. But yeah, it does end too quickly. At 85 minutes, credits roll. I've seen Nick Swardson movies that last longer.

It's way too short to cover what it sets out to do, but Gibson is admittedly fantastic and it's fun seeing Jennifer Lawrence pre-breakout here delivering a nice supporting turn. It was decent. B-

I remember watching this long time back and still remember Gibson's turn in it. Everyone does a great job in terms of performance specially Gibson but it ends too soon.

7/10