Toy The new directorial work of Jodie Foster with her own acting participation turned out to be a strong and impressive story, where magnificent humor and touching dramatic plot coexist perfectly. Playing the central character Mel Gibson will prove to everyone how much powder has not yet damped in the powderpowder, issuing a brilliant actor’s performance, famously dwarfing everyone and everyone who tries to move away from the central line in favor of their heroes.
The theme of the split personality, as well as the theme of the evil puppet, was played so many times that they can be attributed to a separate subgenre, but this film can hardly fit into any of the categories, due to the specifics of its plot. The first half of the film is a satirical sketch on the crisis of personality, introducing elements of black humor for too many jokes. Toy in the form of a beaver takes a whole layer of personality of the protagonist, lurking in the depths of his soul, leading him around the world in a completely new way of looking at things. Or maybe the whole thing is not at all in the hidden potential of a person, and the toy really mystically takes possession not only of the hand with which it moves, but also of the mind of its owner, like a parasite.
Mel Gibson so brilliantly turned the crisis of personality in the dialogue and behavior of his character that the whole film is folded into a theater of one actor, the side characters in which seem unnecessary and unnecessary, ballast and background drawing for the played out personal drama. Especially superfluous were the characters of Jennifer Lawrence and Anton Yelchin, departing with their stupid romantic story from the main plot core, pityfully trying to pull the blanket over themselves, completely without presenting anything interesting on the screen with their couple. And if Yelchin’s line was simply ruined in the finale, when it was potentially reduced to a closed cycle of narration in the same symptoms and could end with the finding of his own beaver, then Lawrence’s character came out at all unnecessary for this picture, and her cynical final monologue causes nothing but disgust and indignation, why this story began to stretch such a talentless sideline with an equally bad actress.
But the main thing is that the extra heroes are not able to stand out in the foreground and outshine Walter with his beaver, and the toy itself beats Gibson in temperament and expression in two, he is so revealed in dialogues with the doll that he outplayed himself with it! The sea of expression and impressions from comic to tragedy turned out to be a very drive kaleidoscope, exciting and entertaining in full! The story catches and touches, makes you empathize, laughs and horrifies, causes tears of joy tears of grief, and most importantly, conducts a whole therapeutic session of professional psychological assistance during the timing, presenting a clear example of failed attempts to get out of depression, creative and personal crises, and other mental traumas. If only a bad example did not become contagious, but about this here really tried.
The film did not have enough courage, shooting such a picture under PG-13 deprived the video series of climactic spectacular scenes that can impress much more with the action and staging than just a plot and a set of issued facts. Being more liberated, the picture could touch much more, much more vividly cut into memory and simply attract a much more emotional reaction with its scenes.
Jodie Foster’s psychological drama “Beaver” is both a comedy and a tragedy in one person, a close plexus and a kind of play of contrasts. This is a stunning story told in cinematic language in an extremely successful form, albeit not quite perfect for such a picture. At the same time, this is Foster’s impressive success in directing and the return of trust in Gibson as a modern actor, still able to give a wonderful job to the envy of many! A wonderful film that is definitely worth watching, sooner or later its effectiveness can be useful to any viewer.
8 IZ 10
Original