Despite looming as a significant financial disappointment at the box office, Alejandro G. Iñárritu’s new film “Digger” manages to avoid being a total catastrophe, thanks largely to a surprising narrative twist. While the film’s initial presentation risks boredom and heavy-handedness, the latter half transforms it into a fascinating watch driven by Tom Cruise’s committed performance, Emmanuel Lubezki’s dynamic cinematography, and Iñárritu’s bold directorial style.
The film opens with an overstuffed introduction to Digger Rockwell, an ambitious oilman portrayed by Cruise in grotesque prosthetics. The character is depicted as uncouth and exaggerated, engaging in behaviors such as eating sardines from the same can as his cat and displaying a conspicuous comb-over. Surrounded by caricatured figures in his mansion, Rockwell learns his company may have triggered a global climate disaster. Critics argue this opening lacks subtlety, feeling more like a shrill provocation than the sophisticated satire promised by the tagline.
However, the tone shifts dramatically when the film reveals that the preceding events are actually a tech rehearsal for a play titled “Fossil Fools.” Cruise drops his Southern accent to become Curtis Markson, an actor struggling to find the satirical rhythm for the production. This meta-turn allows Cruise to showcase a depth rarely seen during his promotional tour, reigniting the intense energy that defined his roles in films like “Magnolia” and “Eyes Wide Shut.” The structure also serves Iñárritu’s broader commentary on satire in the current political climate.
One of the most striking sequences involves Rockwell addressing the United Nations, a scene underscored by the reality that the play was funded by his nephew, Kenny, played by Jesse Plemons. Kenny’s motivations appear to stem from a mix of penance and family loyalty, adding layers to the themes of art and wealth. These fictional elements mirror real-world tensions at Warner Bros., where new owner David Ellison has faced scrutiny regarding his acquisition of the studio.
The film concludes with a somber tableau: theatergoers donning gas masks and exiting into a dystopian landscape of flooded streets and military police, only for the camera to tilt upward toward natural wildlife sounds. While some plot threads, such as Curtis searching for a missing flight, feel underdeveloped, the twist provides enough intellectual substance to engage audiences. Although it may not elevate the film to must-see status, “Digger” offers cinephiles and those interested in its cultural fallout a compelling experience.
Meta twists usually feel like cheap tricks, but here it actually justified the heavy-handed satire. Worth a watch for that ending alone.
Tom Cruise dropping the Southern accent was the moment I finally leaned in. I needed more of Curtis Markson!