Reviews of Digger

One of the greatest films ive ever had the pleasure of watching.. The marketing for this movie was a little subpar, went in not knowing really what to expect but I had heard nothing but good things about it. I was definitely NOT disappointed. The underlying and overlaying meaning of the film was so incredibly deep it had me rethinking life as it played "Level 4" followed by altered sounds of nature animals as the credits roll. It felt surreal to walk out of that theatre. This film couldnt have been made at any better of a time for politics and global uncertainties. I mean we literally watched a movie that is supposed to make us laugh during these dystopian and uncertain times, a play meant to make people laugh during dystopian and uncanny times. Not to mention the cinematography.. absolutely stunning. Everyone involved in the making of this masterpiece deserves an award every red carpet Hollywood event. Especially my actor of year nominee, Tom Cruise. He shined brighter then anyone ever thought he could in a role thats not just shooting bad guys and holding onto the side of military cargo planes. Bravo to you all. Go watch Digger.

James RowlandTMDB7.0 / 10

*May Contain Spoilers:* I *think* love Digger. It’s a beautiful, but bleak film. One which you only truly understand after letting it sit for a few days. As I have done. From the very beginning, Iñárritu does the unthinkable - daring you to dislike it. The sound design, cinematography, make-up - all stunning, but deeply uncomfortable. These first 30 mins are both exciting, and daunting; rattling by with little time for pause. Not giving us the chance to breathe. Then, just as we begin to settle into the chaos of it all… Iñárritu dares us once again - to sit through the most bizarre cinema experience I’ve ever felt. The entire 2nd act contains arguably the best scenes of the film, and carries the majority of the narrative… yet in the moment, you hate it. Once the projections drop, and the theatre is revealed; we are left with an overall feeling of “so?” Why should you care for the story anymore? It's fake! Sure, it’s funny, and impressive - but hollow. Fortunately, that’s only half the story. Just as Digger Rockwell - and Kenny later on - battle with "controlling the narrative”. Iñárritu completely alters our “perception” of the whole experience. When we get the final reveal. It all clicks… The foreshadowing of the leaking sets, Curtis’ daughter. That is why *think* I love this film. It’s not a quick shot of escapism, it’s a slow drag, of thought provoking mastery. I also said this was a bleak film; and it is. Only now does the final line - delivered over the credits - hit me. This is not a film about a play about historical events in the future, it is a film - about a film - about a play about historical events in the future. The final line, “level 4”, is delivered first to the audience of the play, and then to the audience of this film. In both cases it says: ‘The show is over. Leave. Go back to your miserable lives’. Digger does not deliver a cliched ‘make the world a better place’ message. To it, the world is beyond saving, and we’re left to pick up the pieces. Which is where the film’s most interesting character comes in: Kenny (Jesse Plemons). Because this is not a film about the climate crisis… It’s a film about storytelling (I see why Tom Cruise liked it). Kenny’s actions to rescue Curtis’ daughter bring a family together; Just as Fossil Fools brings a community together. But to do so… Managing a scarily effective surveillance company. Funding and handpicking the talent behind the play… Perhaps Kenny too is "controlling the narrative”. Just like Digger. Just like Iñárritu. This is a long review, for an elaborate film. I really would recommend watching it - even though it may pain you in the moment. Great Film. *(P.S. That score by Cosmo Sheldrake… Incredible. OSCAR worthy.)*

CinemaSerfTMDB7.0 / 10

"Digger" (Tom Cruise) is an oil gazzillionaire who cares little for safety or the environment as he determines to milk the planet of as many of it's resources as he can before someone tells him to stop. It's his multi-billion dollar operation in the Arctic that is causing consternation after a massive methane explosion releases a part of the ice shelf and sets it en-route to the low countries of Europe where catastrophe looms. Quickly in cahoots with the president (John Goodman) and finally having to listen to the only scientist in his otherwise acolytic empire prepared to deliver some home truths - "Ganesh" (Riz Ahmed) they consider their options. Get in front of the news: tell the truth and own the problem; feign ignorance and let a now rather angry nature take it's course or do they get the bombers out? All the while this is playing out, we are aware that this is actually all part of a complicated stage play entitled "Fossil Fools" and that "Digger" is really "Curtis", an actor who is having some family troubles and who isn't entirely focussed on the job in hand. Now juggling both scenarios, we embark on quite a scathing satire of global geopolitics that culminates in probably the best performance I've ever seen from Tom Cruise. His animated soliloquy to a suitably gray/beige parliament towards the end about the extent of public complicity in the current environmental situation is potent, thought-provoking and is one of those monologues that has a lot more truth to it than we, watching, might care to acknowledge. Sure, it plays to many a stereotype along the way and it tends to exaggerate for theatrical effect now and again, but by blending satire into scenarios that might readily seem plausible - especially just about everything featuring the on-form Goodman, it hits the mark more often than not. It's not just aiming for the low-hanging fruit of corporate excess, but perhaps with rather more sophistry suggests that that greed is just as prevalent amongst the convenience culture masses who have, for generations, taken low-cost energy and travel for granted. Maybe it's more luck than judgement on the part of Alejandro Iñárritu but the substance of this film really does resonate strongly right now and with Cruise, Goodman, their make up artistes and some seriously poignant writing unafraid to take populist cinema firmly into the realms of hitherto largely avoided, but still quite darkly humorous, controversy - some of this is really quite profound and it makes few bones about speculating that the most powerful people in the world nowadays have rarely, if ever, been anywhere near any ballot papers.

Check out my full review @ https://www.manuelsbento.com/digger-2026-tom-cruise-and-alejandro-g-inarritu-make-noise-worth-arguing-about/ Rating: B DIGGER hammers its numerous capitalistic themes with zero subtlety, and yes, it's loud, repetitive, and not as funny as the comedy of catastrophic proportions it thinks it is. But I quite enjoyed riding this crazy rollercoaster of a movie. Tom Cruise's over-the-top performance is purposefully captivating, Riz Ahmed is the supporting standout, and the VistaVision cinematography and production design are at an award-worthy level of stunning. Its final message, "compliance is freedom," stuck with me. We stay quiet to protect the lives we like, but what about everyone else's? Divisive? Of course, as any satire worth its salt should be! It gets everyone talking, and this one has, so job well done.

Some movies seem destined for mixed reactions. That may be somewhat apparent before their release, but it invariably surfaces once in distribution. And it would seem to be very much the case with the latest and long-awaited release from writer-director Alejandro G. Iñárritu, a project that has been heavily promoted for some time. To complicate matters, “Digger” is a film that could easily fall prey to spoilers if too much is revealed in advance (a point decisively driven home in a caution posted on screen before the picture’s start at press previews), so I apologize in advance if this analysis seems somewhat cryptic or evasive. The film primarily follows the wily exploits of Digger Rockwell (Tom Cruise in his first return to a character who essentially isn’t an action-adventure hero since “Magnolia” (1999)), an aging, loud-mouthed good ole boy oil tycoon who is one of the most powerful men in the world. He’s good friends with the equally boisterous President Compson (John Goodman in what is arguably the best performance of his career), a bought-and-paid-for politician who conveys an impression of independence but is nevertheless quietly beholden to the protagonist and the commodity his corporation controls. But, for all the power these two colleagues wield, even their considerable resources and responsiveness are taxed when an explosion on a Greenland drilling tract leased to Digger’s company triggers an environmental emergency – the detachment of an enormous ice shelf destined for collision with northern Europe. And, since Digger is responsible for the disaster and whatever fallout stems from the actions of his American company, how are he and Compson supposed to respond? But that’s only the half of what’s transpiring here, and that’s where those spoilers come into play. What’s more, this is also where the mixed reactions to this offering are most likely to emerge. Indeed, to say more would reveal too much, but suffice it to say that the movie takes a radical turn at this juncture, one that some may find hard to follow initially, even though this shift is not entirely unexpected given that it recalls similar changes found in some of the filmmaker’s previous pictures, like “Birdman” (2014) and “Bardo” (2022). While some of this could probably have been handled differently (and better), the overall narrative nevertheless makes for an intriguing story filled with insightful (if familiar) messages about environmental decline, the unchecked power of big business, greedy CEOs and compromised politicians, and a public that often complains but takes few meaningful steps to counteract any of the foregoing. The picture could have also used a little less shouting, not only in the characters’ dialogue, but also in the conveyance of its sentiments. The writing has its strong points (especially in its piercing one-liners and pointed contentions), and the performances are generally solid, including those by the leads and supporting cast members Riz Ahmed, Sandra Hüller, Michael Stuhlbarg and Jesse Plemons. But the biggest drawback in this satire is that there’s really no one to pull for, and that keeps me at least from giving this release a stronger endorsement. Perhaps it would take another viewing to recommend it more enthusiastically. But that would undoubtedly take some digging.