REVIEW: “Digger” (2026)

(Source: IMDb) 

In 2008, actor-filmmaker Ben Stiller made a satirical sendup called Tropic Thunder. It featured a star-studded cast of both acclaimed and comedic actors mocking the state of Hollywood. One of them included a foul-mouthed studio executive played by none other than Tom Cruise—which left many people reportedly bewildered when they found out it was him. 

Known primarily for action tentpoles as well as doing his own stunts, many people may forget that the Mission: Impossible veteran has had a varied screen career as a younger actor throughout the 1980s and into the 2000s. As such, Cruise’s credits range from familial dramas (Rain Man) to war epics (Born on the Fourth of July), legal thrillers (A Few Good Men), horror (Interview With the Vampire), sports comedies (Jerry Maguire), and heavy ensemble pieces (Magnolia). 

This year, under the direction of Alejandro G. Iñárritu, Cruise almost completely disappears into the role of a larger-than-life oil tycoon in the wild and absurd satire, Digger. The star-studded cast in this black commentary on environmental and political issues features the likes of Sandra Huller, Riz Ahmed, John Goodman, Michael Stuhlbarg, and Jesse Plemons. But it's Cruise’s lead performance that really swings for the fences, as an unlikable yet magnetic, shovel-wielding character study (sort of recalling Daniel Day-Lewis in There Will Be Blood).

Digger marks the third year in a row (since 2024) that a risky, big-studio release was shot on VistaVision. There seems to be a yearly trend of political-focused, independent feature-films shot in this format at least once a year, following Brady Corbet’s The Brutalist and Paul Thomas Anderson’s One Battle After Another. (At least, that seems to be a trend.) The 1.50:1 aspect ratio admittedly emphasizes the larger-than-life story and personalities on display; the story even alternates between aspect ratios throughout, considering a central twist. 

The cinematography by Iñárritu regular Emmanuel Lubezski recalls David O’Russell’s critically divisive Amsterdam, including the attention-to-detail and history in Digger Rockwell’s home (with Citizen Kane-esque imagery in draining color), and a sense of things slowly (and carelessly?) falling apart/decaying while characters constantly ignore warning signs and are in way over their heads. 

Digger has already become the year’s most divisive film. Some would call it bold and audacious, while others would say it’s ridiculous and messy. And they’re not wrong. Digger is all of those things, and then some. (To be fair, the film’s teaser poster—in the style of Saul Bass—is one of my favorites in recent years.) Criticisms over this film’s plot and execution have ranged from “pretentious” to “self-indulgent.” Content-wise, a few sexist and racist jokes, as well as some religious/Christian mockery and references to a “higher power,” are littered throughout this foul atmosphere. Plus, the synchronization of sound with Cosmo Sheldrake’s weird score, as well as certain character nuances and other technical elements, may try the patience of some viewers. 

The central twist mentioned earlier (again, without spoilers) puts on meta spin on the story, blurring the lines between reality and fiction / performance / art / legend (a recollection of Iñárritu's Birdman starring Michael Keaton), as our roster of characters seek to literally “control the narrative” (play God) to stop a global catastrophe that will cause numerous casualties and flooding. (The film’s tagline, after all, reads, “A Comedy of Catastrophic Proportions.”) This twist initially confused me, and frankly I’m still processing it. I can’t help but think of Steven Spielberg’s recent film, Disclosure Day, from earlier this year. Characters even question the “story,” not so much what it’s about but the way it’s told; a key moment from Plemons may sell it for me, in terms of what has happened, what will/may happen, and the consequences of such actions. 

Like Forgotten Island, Digger was not a box-office success during its opening weekend. In fact, it’s quickly been reported as not only the biggest financial flop of the year but also one of the biggest ever. Few in the industry, like actors Anne Hathaway and Ben Affleck and director Guillermo del Toro, have defended it, while actor Mandy Patinkin and music artist Neil Young have each declared it as one of the greatest films they’ve ever seen. The people who made it seemed to have had a ball. Love it or hate it, it’s a very subjective result. To paraphrase Digger, those are facts. You decide if Cruise should take more risks like this, regardless of box-office results (it certainly brings out his versatile acting chops) and/or whether this kind of story should be dug or seen.