It's the most debated, dissected and delayed movie of the year, but it all comes down to one question. Are you willing to watch Mel Gibson in a movie or do you find him too disgusting?Gibson stars as Walter Black - the heir to a toy company who has taken over and led it to failure, just like he has with everything in his life. Walter has become depressed, alienated from his family, and asked to leave the house by his wife, Meredith (Jodie Foster).
While attempting to throw away all of his personal belongings, he finds a beaver puppet in the dumpster, puts it on, and begins to speak through the stuffed toy. Telling everyone it is a form a prescribed therapy, Walter might be on the verge of saving his life.
Will everyone be accepting of the beaver and Walter's new form of communication?
Can it last forever?
Has Walter made a turn for the better?
When I describe the premise of The Beaver to friends and family, they either stop me at "Mel Gibson" or "stuffed beaver puppet", so you can only imagine the kind of chance you are taking on this film. The choice is yours, but The Beaver is worth seeing just to fulfill your curiosity or to tell people you have seen it to solidify your credentials as the ultimate cinephile.
No matter how much you hate him (and he has given you plenty of reason), it's hard to deny Gibson is very good in this movie as he operates the puppet just like a ventriloquist would with reactions, facial expressions, and physical movements that make you feel the beaver is alive. He even creates a strange little accent for him to add personality along with operating the puppet like a third character in each scene, with or without dialogue.
Yet, beyond that, Gibson captures the man's despair, depression and the last ditch attempt to climb out of it. You feel every conflict in his soul, and the pain living life has for him. Maybe the hangdog look is over done from time to time, but if this performance was made by someone named Clooney, Pitt or Hopkins, The Beaver would be getting attention for the performance instead of the star (of course, Clooney, Pitt and Hopkins have not done what Gibson has done).
Everyone is coming to see Gibson and Foster, but it's Oscar nominee Jennifer Lawrence who emerges as the superstar supporting player in the film. In an uneven subplot between her and Anton Yelchin, who plays Walter's son, who is worried he is becoming just like his father, it's Lawrence who blows you away with poise, emotion, and the troubles her character feels about her new relationship and the past she still hasn't come to grips with. While this subplot was designed to have more impact and feature Yelchin, he gets lost in a cast with Gibson, Foster and Lawrence.
Foster only sparingly goes behind the camera to direct (delivering decent movies Little Man Tate and Home for the Holidays), so you have to feel bad for her as The Beaver gets kicked around, delayed and overcome by Gibson's meltdown, behavior and legal battles. She urges the audience to open up and give the quirky story a chance in the more dramatic moments, but, sometimes, gets caught in between serious drama and attempts at dark humor, especially when moments on screen unintentionally remind you of Gibson's personal travails.
The Beaver might be lost to history due to circumstance, but you should see it for yourself while you can.
3 Waffles (Out of 4)
The Beaver is rated PG-13 for mature thematic material, some disturbing content, sexuality and language including a drug reference.
No matter how much you hate him (and he has given you plenty of reason), it's hard to deny Gibson is very good in this movie as he operates the puppet just like a ventriloquist would with reactions, facial expressions, and physical movements that make you feel the beaver is alive. He even creates a strange little accent for him to add personality along with operating the puppet like a third character in each scene, with or without dialogue.
Yet, beyond that, Gibson captures the man's despair, depression and the last ditch attempt to climb out of it. You feel every conflict in his soul, and the pain living life has for him. Maybe the hangdog look is over done from time to time, but if this performance was made by someone named Clooney, Pitt or Hopkins, The Beaver would be getting attention for the performance instead of the star (of course, Clooney, Pitt and Hopkins have not done what Gibson has done).
Everyone is coming to see Gibson and Foster, but it's Oscar nominee Jennifer Lawrence who emerges as the superstar supporting player in the film. In an uneven subplot between her and Anton Yelchin, who plays Walter's son, who is worried he is becoming just like his father, it's Lawrence who blows you away with poise, emotion, and the troubles her character feels about her new relationship and the past she still hasn't come to grips with. While this subplot was designed to have more impact and feature Yelchin, he gets lost in a cast with Gibson, Foster and Lawrence.
Foster only sparingly goes behind the camera to direct (delivering decent movies Little Man Tate and Home for the Holidays), so you have to feel bad for her as The Beaver gets kicked around, delayed and overcome by Gibson's meltdown, behavior and legal battles. She urges the audience to open up and give the quirky story a chance in the more dramatic moments, but, sometimes, gets caught in between serious drama and attempts at dark humor, especially when moments on screen unintentionally remind you of Gibson's personal travails.
The Beaver might be lost to history due to circumstance, but you should see it for yourself while you can.
3 Waffles (Out of 4)
The Beaver is rated PG-13 for mature thematic material, some disturbing content, sexuality and language including a drug reference.
