Rating:  

Starring: Mel Gibson, Jodie Foster, Cherry Jones, Anton Yelchin, Jennifer Lawrence, Riley Thomas Stewart. Zachary Booth, Kelly Coffield Park, Matt Lauer, Jeff Corbett.
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Director: Jodie Foster
Rating: PG-13
Running Time: 91 Mins.
Release Date: May 6, 2011
Home Video Release Date: August 23, 2011
Box Office: $971 Thousand
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Participant Media, Imagenation Abu Dhabi, Anonymous Content, and Summit Entertainment.

Written by: Kyle Killen.

Marketed as a quirky comedy/drama, there is not a whole lot of humor to be found within the opening and closing moments of “The Beaver”, the Jodie Foster-directed and Mel Gibson-starring film about a man, Walter Black, on the verge of suicide who finds a rebirth of sorts by speaking through a throwaway Beaver puppet he places on his left hand 24/7. When the film was released in theaters in May of 2011, many critics and analysts felt that Gibson had delivered his finest performance in years, the film was a dark horse Oscar contender in a few categories, and Jodie Foster could reclaim her stature as an accomplished and important filmmaker. And then, no one came. The film floundered and failed to gross even $1 million domestically. Even for a $21 million budget, the film was a significant box office bust and was quickly swept aside as much ado about nothing.

Now having seen the film, I understand the disappointment fans of the film share regarding “The Beaver” not having found a greater audience. Under the skilled hands of Jodie Foster, “The Beaver” will be remembered as a flop, but is a much better film than that legacy will afford it.

Admittedly, my resistance to Mel Gibson was never far from my mind as I nonetheless watched him deliver a captivating performance as a depressed CEO who has lost his way in life. Frankly, I would question whether Gibson’s Walter Black is actually depressed, he seems much more mentally impaired to me, but I digress. Gibson runs a toy company and has two children, high school senior Porter (Anton Yelchin), and grade school aged Henry (Riley Thomas Stewart) . Gibson’s concussion of sadness and disengagement with life has led his wife Meredith (Foster) to raise the red flag and initiate a divorce. While Porter fully endorses the move, embarrassed by his father’s insular and selfish behaviors, Meredith is torn, Henry is confused, and Walter is embedded in a hotel room with a whole lot of alcohol and a declining desire to see the next morning.

After departing with a robust purchase at a liquor store, Walter cleans out some things from his car and finds a beaver puppet laying in a dumpster. Drawn to it, he takes it with him and places it on his left hand. After a failed attempt at ending his life leads to him lying unconscious, he awakens to find the Beaver speaking to him. Speaking in a thick and gritty British accent, The Beaver reawakens confidence in Walter and he returns home. Drawn to Walter’s new persona, Henry and Walter play and bond in ways long since absent within their relationship and when Meredith is perplexed at Walter’s return, he states that The Beaver is psychiatric therapy he is finally willing to try.

From there, the film expands upon a plot involving Porter, an academic-type who makes money on the side writing papers for struggling classmates, and the cheerleader Norah (Jennifer Lawrence), who pays a hefty sum for Porter to help her write her valedictorian speech for her upcoming graduation. Yelchin and Lawrence work well together, initially appearing to be disparate souls and personalities, but quickly realizing that despite social stature in school, they are much more similar and compatible then either could ever imagine.

Running only 91 minutes, Jodie Foster keeps the film concise and focused, but Kyle Killen’s screenplay doesn’t really find a whole lot to say. Walter’s taking of The Beaver everywhere feels fresh and original for awhile but becomes more and more discomforting as he integrates it into his workplace and the puppet becomes the focus of every single element of Walter’s life, and in turn, the lives of all who know him.

When the film reaches its uncompromising and polarizing final minutes, some will have checked out of “The Beaver” by then. If you have stayed engaged with the film, you might find the final minutes stupefying and off note. I, for one, felt the film took a surprising but oddly appropriate run off the rails when thinking of Walter and Meredith and the struggles that Meredith and Walter and The Beaver seemingly cannot avoid.

I liked the ambition, the courage, and the imprecise successes Foster finds with her film. Gibson is the best he has been in years, but the film is not a comedy in any true sense of the word. Thematically dark, and at times challenging, I wish more people would have taken a chance with “The Beaver”.

Should I See It?

YES

Strike one for originality. While Kyle Killen’s screenplay may focus a bit too long on the Gibson/Beaver elements, Jodie Foster’s film is a thoughtful look at the despair that people can fall into and the desperate means people will consider to come out of it.

Mel Gibson, as off-putting and polarizing a figure as you’ll ever find right now, is tremendous here and gives a compelling performance – arguably his best to date.

Foster succeeds in placing the viewer in an uncomfortable place – never quite sure what is going to happen or transpire next. This is also true with the storyline involving Anton Yelchin and Jennifer Lawrence’s characters.

NO

If Mel Gibson has burned his bridge with you as a viewer and/or a fan, this will likely not be of interest.

Marketed as a comedy, this is absolutely not a comedy. Not even a dark comedy. This is a drama, thematically a heavy one, and I imagine some people will not be expecting that going in.

The premise and acceptance of Walter and his puppet might strike some people as too unrealistic to accept. Especially when he is allowed to return home a short time after being kicked out.

Some with sensitivity to mental illness and depression may take issues with the entire project, including its surprising final minutes.