^{Credit: Digger (Warner Bros.)}

At Cartoon Contender, we mainly discuss animation and awards, but also everything in between. Nick’s Flick-Reel is that in-between, reviewing live-action films and more!

There’s a point in Digger where Tom Cruise, giving his most over-the-top and unrecognizable performance since Tropic Thunder, addresses a room of people following a crisis. When his rant is over, some in the room are left cheering, others want his head, and a few likely aren’t sure how to feel about what they just witnessed. The same can be said about the movie as a whole. Every element of Alejandro G. Iñárritu’s film works overtime, from the makeup artists who transformed Cruise into a disheveled old man to the Oscar-worthy production design. Digger can feel overworked in other respects, though, never knowing when to take a breath.

Digger Rockwell (Cruise) is an insanely wealthy oil tycoon who worships his dying cat, uses antlers in all of his decorating, and has little regard for his workers. His greed and negligence cause an environmental crisis that may leave entire countries underwater. John Goodman matches Cruise’s manic energy as the U.S. president, who surrounds himself with people who believe the solution to everything is to bomb it. The only one with any common sense is Riz Ahmed as a meek scientist, although even he eventually succumbs to the mentality that if you can’t beat them, join them. Digger is called upon to clean up the mess he created, but he’s more inclined to dig the world deeper into near extinction.

Digger has a fair deal to say about climate change, corrupt politicians, and the unchecked power we give billionaires. Yet, the film doesn’t give us much room to listen. Characters are often talking (or screaming) over each other to the point you can’t make out half of the dialogue. An intrusive musical score and distracting sound design don’t help. This movie has a lot of men sitting in leather chairs, and we hear every creak. One could argue that Iñárritu was aiming for a sense of mayhem as giant egos collide against the backdrop of a crumbling world. The commentary that he’s trying to get across becomes drowned out by the constant noise, however.

Although Digger doesn’t work on a narrative level, the production design is another story. Dennis Gassner’s extravagant sets here have a life of their own, hinting that there’s more going on here than meets the eye. Let’s just say that Digger has more in common with another Alejandro G. Iñárritu film than some might be expecting. While this revelation may prove divisive, it does prevent Digger from simply being Don’t Look Up 2.0. However, Don’t Look Up at least felt more focused, even if its commentary was on the nose. Digger, meanwhile, struggles to find the nose. It knows what it wants to say. Just not how to say it.

It’s hard not to admire the swings that Digger takes. It’s impeccably crafted, making for one of the most visually intriguing films you’ll see all year. The cast, which also includes Sandra Hüller, Michael Stuhlbarg, Jesse Plemons, and Sophie Wilde, gives it their all, even if they’re not provided with the best material to work with. That said, Digger’s screenplay proves too crowded and bombastic for its own good. They say, “If you find yourself in a hole, stop digging.” Digger opts to keep digging instead, collapsing under the weight of its own ambition. 

Awards Prospects:

Best Production Design (Oscars, BAFTA)

Best Makeup and Hairstyling (Oscars, BAFTA)

Tom Cruise: Best Actor in a Motion Picture – Musical or Comedy (Golden Globes)

Nick Spake is the Author of Bright & Shiny: A History of Animation at Award Shows Volumes 1, 2, and 3. Available Now!