The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
That this ambitious, if deeply odd, film is so compulsively watchable is a credit to Gibson's compelling performances, both as spiritless Walter and the Cockney-accented voice of the tireless title character.
In The Beaver, a stately family drama with a black comedy struggling to break free from within, Mel Gibson deploys a seemingly magical hand puppet -- plus more charm than he's allowed out in public in years.
I didn't want to read a word about The Beaver before seeing it, and I'm glad I went in "cold." It's a purposefully odd little film about mental illness and a broken family, made with care and obvious passion by Jodie Foster from a...
Admittedly, Gibson is very good as the deeply disturbed hero - particularly as he sits alone slugging vodka or mourning the loss of his family's love. But is this really acting? Is it even a performance?
Despite some missteps, this film stands as a moving portrait of a husband and father who reclaims his will to live with the unlikely help of a hand puppet. And the main reason it's so moving? Mel Gibson.
While The Beaver starts with Gibson in What Women Want slapstick mode, it eventually goes to such exaggerated, extreme places that it becomes as much of a must-watch train-wreck as Gibson's own real-life situation.
I don't know whether Gibson is Method-acting out of his own psychology or is just a brilliant mimic, but it's tough to resist the conclusion that this guy knows what it's like to look in the mirror and not quite recognize the person he sees there.
Whatever you think of Mr. Gibson, whatever he has lost, he still has talent, and here displays acting of power and resonance. It's a pleasure, for a change, to see the best side of his split personality at work.
Mel's character isn't on Prozac, but the movie is -- a succession of bland camera setups, cued to a highly conventional score. Would that the direction were half as nutty as the script or as wacked-out as its star!
Gibson demonstrates a staunch commitment to his role as an emotionally damaged man driven to excise his troubles by speaking through the titular hand puppet, but the subdued tone brings him down to earth.
As director, Foster, working with Kyle Killen's screenplay, treats the goofy premise with a literal earnestness -- as a family drama about separation and reunion -- that seems all wrong. A little wit would have helped.
The movie's glumness is in synch with Foster's performances over the last decade: It's as if she's decided that acting is something you mature beyond. Which I suspect had a dampening effect on Gibson's performance.
[Gibson] delivers a performance very few could pull off as a depressed father who begins communicating through a hand puppet, but Foster doesn't know how to manage it or navigate the script's seismic tonal shifts/