Digger, a contemporary satire that is almost impossible to talk about without spoiling it, shines with excellent performances, gorgeous visuals and an important message.
Directed by Alejandro González Iñárritu, Running Time 129 mins, Distributed by Warner Bros. Pictures
Review by Mitch Bailey
Iñárritu’s latest work is a divisive one, to say the least. Marketed as Tom Cruise’ next hit, Digger focuses on the titular character, Digger Rockwell, portrayed by Cruise. Digger is a weathered CEO of an oil drilling company located in remote Greenland, whose ignorance to the day to day running of his empire sees him faced with a potentially catastrophic natural disaster, the blame ultimately lying at his feet. As he seeks to cover the trail with ailing President Compson (John Goodman) and less than impressed scientific advisor Ganesh (Riz Ahmed), the trio soon come to terms with the continental crisis that they failed to prevent.
There’s significant plot points in Digger that make keeping a review spoiler free a particularly challenging feat, especially regarding the wider story itself. The route Alejandro González Iñárritu chooses to go down narratively is complex and layered but ultimately is a success, fleshing out the legacy of Digger himself. Cruise’s performance is brilliant; it’s been far too long since the man dubbed the “saviour of cinema” has delved into a role that requires such depth, evidenced in previous roles that he is clearly capable of. But despite his strong performance, Cruise is outdone by his counterpart Riz Ahmed, who completely sells the collective anger, frustrations and gravitas that his character requires. Ganesh is essentially the voice of the generation who are taking the climate crisis with its deserved sincerity, something i’m sure many viewers of the film will sympathise with whilst watching. Ahmed’s Ganesh figuratively takes the role of the rational audience member, shouting at the screen whilst the arrogant, self-centred boys club that consists of Digger, President Compson and company continue to make a mockery of an international crisis. It strikes close to home, and it’s where Iñárritu’s satirical approach shines, harking back to works such as Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb as clear influences.
Other supporting roles are a mixed bag; Sandra Hüller, who stars as the half-sister of Digger, fades into the scenery with a forgettable performance, albeit she is given little to do. The enigmatic character portrayed by Jesse Plemons on the other hand shines in the spotlight, making a mark despite minor screentime. The same can be said for Sophie Wilde, who is equally as impressive with what they have to work with.
A major success is the production design and cinematography; every set is rich in character and aesthetics, heavily supported by the gorgeous VistaVision shot by frequent collaborator Emmanuel Lubezki. If the film is to get any plaudits come awards season, it’s these elements where recognition is most likely.
Alejandro González Iñárritu’s contemporary satirical drama is bound to cause division, for spoiler reasons that won’t be mentioned any further. Those that appreciated those choices, like myself, will come away feeling satisfied with the final product. Either way, there’s plenty of great performances, thought provoking social commentary and beautiful production on show that make this worthwhile.
