Film Review – Digger

October 1st, 2026 | POSTED BY Allen Almachar

After almost two full decades starring in blockbuster action pictures, Tom Cruise has chosen a role that reminds us that he is more than just insane stunts and lots of running. His turn in Digger (2026) showcases his willingness to transform into a character, reminiscent of his work in Born on the Fourth of July (1989), Magnolia (1999), Collateral (2004) or even Tropic Thunder (2008). Cruise is one of cinema’s biggest names (some even label him as the “last” great movie star), so to see him perform against his finely tuned public image is a welcomed change of pace. And boy, does he go for broke. If there’s one thing about him, he never takes anything at half measure – and this is just further proof of that.

This is one of Cruise’s most bombastic portrayals of his entire career. His take on oil tycoon Digger Rockwell is bigger than life. Sporting a big belly, thinning white hair, and a face sagging at the edges, Cruise inhabits Digger like a cartoon character. He intentionally tip toes the edge of caricature, giving the role a heavy accent and big grand gestures. Digger is a heightened representation of corrupt businessmen, whose greed and influence on government makes them some of the most powerful people in the world. In a reflection of the modern political and social landscape, Digger makes no effort to hide his intentions. In one of the key scenes, Digger addresses an assembly of international leaders, boasting about his nefarious practices. No matter how much the public hates him, he argues that they will always need him.

Directed by Alejandro G. Iñárritu (who also cowrites with Sabina Berman, Jez Butterworth, Alexander Dinelaris, and Nicolás Giacobone), the narrative sets up a scenario where Digger – despite his arrogance and grandstanding – must come face to face with the consequences of his actions. One of his oil rigs (illegally operating in Greenland) has exploded, breaking off an enormous glacier which now floats towards northern Europe. As described by Digger’s chief scientist, Dr. Ganesh (Riz Ahmed), once the glacier hits land it will cause catastrophic damage and countless human lives lost. A large portion of the first half involves Digger meeting with the heads of the U.S. government, including President Compson (John Goodman) on what can be done to either stop the glacier or limit the public’s response to the inevitable disaster. There are shades of Dr. Strangelove (1964) all throughout these sequences, as the dialogue, staging, and performances have a comedic undertone despite the bleakness of the situation. Just look at Goodman’s face, the way it contorts and goes wide eyed as more information about the glacier is revealed. He – along with the rest of the production – are clearly operating at a tenor that doesn’t quite reflect everyday human behavior.

So why is that? It could be argued that the production goes too far with its satire – that the narrative is such a highwire act that things get repetitive and exhausting. Thankfully, the writing/direction does this intentionally as a set up. We’re introduced to a secondary plotline that upends all our preconceived notions. The exaggerated display then becomes a crucial element. While I will not give away the secrets, I will say that this new development covers various themes about the role of leadership, how we perceive authority, and how people in positions of power have an impact that will last generations. Whether it is the environment, economy, international relations, and so forth, the decisions made today will have an untold effect on the way we live in the future. Sure, we may laugh at high-ranking officials for how ridiculous they act or the silly things they say (the film itself is an example of this), but we still must live with the ramifications of their dealings. 

To be fair, this isn’t a new insight. We’ve seen movies skewer political and social figures all the time, from the aforementioned Dr. Strangelove, The Great Dictator (1940), A Face in the Crowd (1957), to Wag the Dog (1997) and so forth. The list is extensive. Digger operates in much of the same fashion but is done at such a fever pitch that I found myself glued to the screen. Alejandro Iñárritu has never been a subtle filmmaker – and he doesn’t change with Digger. The messaging isn’t just expressed; it’s pounded in with the delicacy of a jackhammer. Everything about the film is over the top and dreamlike. Emmanuel Lubezki’s cinematography captures scenes with a deliberate artificiality. Bedrooms, halls, boardrooms, offices, and vehicles appear slightly off kilter. The production design creates a realistic looking world with little sci-fi details. Smart devices, video calls, and other bits of tech hint that this all takes place in a not-too-distant future. 

What makes Digger truly standout is the cast. Besides the work already discussed from Tom Cruise and John Goodman, all the supporting players make the most of their screentime. These include – but are not limited to – Sandra Hüller as Digger’s sister Emma, as well as Kenny (Jesse Plemons) a mysterious figure whose relationship with Digger is not unveiled until the second half. But it’s Riz Ahmed who steals the show as Digger’s close confidant and voice of reason in Ganesh. Ahmed plays the character full of desperation and anxiety. He is fully aware of what is at stake and becomes frustrated when his warnings to Digger go in one ear and out the other. Ahmed matches Cruise in intensity, even though their characters are vastly different. This all comes to a head in a fantastic monologue where Ganesh lays out how Digger’s actions have led up to this point and how slim their chances are in reversing the damage. 

Digger is not a “middle of the road’ kind of movie. Audiences will either appreciate what it’s doing or will utterly despise it. The fact that it will likely generate strong responses – positively or negatively – is a testament to its effectiveness. Regardless of where you end up on it, I think it’s safe to say that it does not cut corners, it does not take the easy way out, and it swings for the fences. This is a case where the ambition and determination put on screen goes a long way in making up whatever shortcomings may exist. I’d much rather see a movie like this shoot for the highest possible target and miss as opposed to settling for the safest possible outcome. 

A Face in the Crowd, Alejandro G. Iñárritu, Alexander Dinelaris, Born on the Fourth of July, Collateral, Dr. Strangelove, Emmanuel Lubezki, Featured, Jesse Plemons, Jez Butterworth, John Goodman, Magnolia, Nicolás Giacobone, Riz Ahmed, Sabina Berman, Sandra Hüller, The Great Dictator, Tom Cruise, Tropic Thunder, Wag the Dog