The Beaver

At first "The Beaver" sounds like an offbeat Farrelly Brothers project: a middle-aged businessman fights depression with the help of an unlikely ally - a hand puppet of a Beaver that dispenses tough love with a Cockney accent (taking the phrase "talk to the hand" to new heights of absurdity).

But as it turns out, this Jodie Foster-helmed film is far from a comedy (though it has its moments). Rather it's an inspirational drama with much off-screen baggage. That is because the film stars Mel Gibson in a return to the screen following the very public break-up with his girlfriend (and mother of his child) that resulted in the airing of his unpleasant drunken rants. The film was in the editing room while that domestic drama was playing out, though the once A-list actor's stature was already in free-fall over his public display of drunkenness and anti-Semitic remarks in 2006. But in casting the film Foster, his long-time friend, took a chance with the actor, casting him as Walter Black, a deeply depressed businessman on the brink of suicide.

It is during a suicide attempt that the pesky little fella chimes in, saving Walter from a free-fall from a hotel balcony in the process. The puppet begins to speak to him in an assertive voice that sounds like Michael Caine doing his Cockney thing, which sets him apart from the meek-voiced Walter, who is barely able to speak at all. Gibson makes no attempt to use ventriloquist's tricks in speaking as the Beaver - it's just another side to his personality. He convinces his wife Meredith (played by Foster) to let him return to their house where Walter (through the Beaver) returns to a semblance of his former gregarious self, playing with his young daughter and making his stern-faced wife laugh. In short, the Beaver becomes a therapeutic tool with which Walter can work out his depression.

At first it seems to work. He returns to his post as CEO of the toy company he founded where his bizarre behavior inspires his staff. The Beaver even inspires Walter to create a new product line - a tool set aimed at children - that becomes a sensation and saves the failing company. TV appearances featuring Walter and the Beaver soon follow and it begins to appear that perhaps this fable may have a happy ending.

Any hopes for that, though, are soon dashed when Foster complains that two's company, the Beav makes a crowd, especially when she attempts to sleep and has the critter in her face. Threatened, the Beaver fights back, bringing on a manic episode in which Gibson attempts to sever (literally) his relationship with the puppet. Textured through the story is a subplot involving Gibson's teenage son Porter (Anton Yelchin), who wants nothing to do with his father and pursues a relationship with a popular girl from his high school, Norah (Jennifer Lawrence). That they both have demons of their own is de rigueur for this kind of inspirational drama, which brings to mind the far superior "Ordinary People" in its depiction of an estranged relationship between a son and his parents.

The film's absurd premise aside, there's much to admire in "The Beaver." Foster's sleek direction has an art-house feel, the dark-hued cinematography (by Hagen Bogdanski) enhances the story's deeper concerns, and there are admirable performances by Yelchin, Lawrence and Foster. Where Foster (as director) falters is in segueing between the film's shifting styles, which move from psychological melodrama through satire and horror, and ending as an inspirational fable. Nor is the film helped by the whimsical musical score (by Marcelo Zarvos) that draws attention to itself at every turn.

Gibson holds the screen as he pivots between the beaten-down Walter and his creepily dynamic alter-ego. There's intensity to his performance that's believable and makes you forget about his off-screen antics (at least for the running time of the film). If only screenwriter Kyle Killen didn't take the story into "Lifetime" movie of the week territory, taking the air out of Gibson's performance in the process and ending the film on a decidedly Hollywood note of earnest uplift. In the end Walter may be rehabilitated, but you find yourself missing his Beaver, who turns out to be liveliest character in this tale of family dysfunction. Leave it to this Beaver to save the film; well, almost save it.