THE STORY – The most powerful man in the world embarks on a frantic mission to prove he is humanity’s savior before the disaster he’s unleashed destroys everything.
THE CAST – Tom Cruise, Riz Ahmed, John Goodman, Sandra Hüller, Michael Stuhlbarg & Jesse Plemons
THE TEAM – Alejandro G. Iñárritu (Director/Writer), Alexander Dinelaris, Nicolás Giacobone & Sabina Berman (Writers)
THE RUNNING TIME – 129 Minutes
The world seems to be under a never-ending assault of traumas that inflict society, and it seems impossible to fully surmount. There has been a precipitous decline in positive outlooks, which can be attributed to a host of reasons. It’s a scary time to look outside the window and be bombarded with a terrifying image of terrifying turmoil. It is easy to retreat inwards or, worse yet, resign to the undeniable misanthropy and succumb to defeated panic. That’s why art can be so critical in its reflexive lens, taking on the troubles we see and mining a greater showcase from the continuing misery. It can still be a frightening endeavor, but one that is still enlightening and provocative. This is no doubt the thesis that Alejandro G. Iñárritu has crafted for “Digger.” That’s no surprise, as his previous work has often found a fascination with probing larger social discussions framed within his meticulous direction. His previous efforts found broad success with audiences, probably because they boldly underlined these themes to compensate for shallow storytelling. Not only do those issues persist here, but what is meant to be a clever exploration becomes a tedious commentary that reveals little about our present circumstances.
At the heart of this tale is Digger Rockwell (Tom Cruise), an eccentric billionaire whose oil and drilling projects make him an important figure on the global stage. His company operates with vast resources, giving him access not only to enormous wealth but also to political influence. While trying to attend to his aging cat, whom he is determined to keep alive, a crisis erupts. One of the drill sites in Greenland has been consumed by methane, an obvious result of climate change, which has caused a significant explosion. The rig has been decimated, and a large section of ice is heading towards Europe, bringing the anticipation of mass destruction. Digger is brought into President Compson’s (John Goodman) inner circle to help deal with the ensuing catastrophe. His fights with Dr. Ganesh (Riz Ahmed), the scientist meant to manage the project’s safety, further highlight the gravity of the situation. Digger must salvage this mess by seizing the narrative, even as events grow increasingly tragic and absurd.
There is another element to this narrative that adds an entirely different interpretation to this story. It’s been hidden from the marketing, and therefore is meant to be a discovery for an audience viewing the film for the first time. Normally, it would be uncouth to reference a detail outside the work as a determining factor in criticism, but it is hard to fully understand why this film struggles so much without that specificity. While I want to keep that novelty intact for others, I can say that Iñárritu seems to think this perspective gives the storytelling more intrigue than it actually carries. He and his co-writers introduce a manner to see these events play out with an altered intentionality, drawing attention to the artifice these characters inhabit and the more complicated motivations at play. At least, that is the supposed purpose. Instead, the attempt to make the story more thought-provoking only muddles that thematic commentary.
There is a sense of playing with the notion of authenticity, directly interrogating whose voices ring true and which noble need may have ulterior motives. It’s a compelling idea that, when first introduced, does immediately make one feel engrossed. It catches you off guard, suddenly questioning the presentation in a way that can mine deeper territory. However, like many Iñárritu projects, the creativity only goes so far. The narrative’s structure robs these characters of satisfying arcs, as well as any hint of captivating introspection. It makes long stretches of tedious observation, hoping the next turn of events will illuminate this larger portrait. Instead, the weight of self-importance suffocates any goodwill that was conveyed. In the end, his tactics reek of a desperate attempt to communicate a soulful deconstruction of the malignant hopelessness society faces. Still, he achieves it through hollow methods that offer no valuable insight into the structures surrounding this ideology.
Even though Iñárritu’s films always have a kernel of an idea that may be absorbing, the execution often struggles to form a cohesive whole. The same is true here, even though that introduction quickly shows itself to have little actual substance. However, he usually knows how to demonstrate some impressive craftwork. Yet, even that aspect is quite underwhelming here. He returns to working with the great cinematographer Emmanuel Lubezki, but the washed-out visuals don’t really make the imagery that impactful. The grey, muddy images serve the bleak tone, one that fights with bouts of overwrought comedy. But there’s no denying that there is a lack of feeling completely enveloped by this world, something that “Bardo” and “The Revenant,” for all their faults, were able to overcome. In truth, the only singularly remarkable aspect of the filmmaking is the production design. It’s the only spot of lavish creativity that not only makes the landscapes feel grandiose and distinct but also plays into a larger thematic discussion that exposes the layers of the storytelling far better than anything this screenplay offers.
Another element that can usually save one of Iñárritu’s films is an incredible cast he assembles and the great performances he gets from them. Unfortunately, this is one of the few occasions when even that isn’t a saving grace. Cruise has, and always will have, a magnetic screen presence that’s impossible not to find enthralling. But it’s been quite some time since that talent was utilized for something other than death-defying stunts on top of large buildings. In that sense, there’s comfort in seeing him return to work that, if not more grounded, is free of the usual hallmarks that exaggerate his stardom. The hammy accent and prosthetics are meant to create a histrionic portrayal that masks a more emotional core. The problem is that this character’s inner layer is undefined and murky, especially compared to the bravado exterior meant for shock and awe. There are quiet moments when Cruise’s intensity helps, drawing the audience into a more complex mentality, only to be completely frustrated when the material he works with keeps the role at a distance. While it’s nice to be reminded that Cruise can still be a riveting performer, the writing lacks detail that would have made a stronger impression.
Sadly, the supporting players don’t fare that much better, most of them delivering grotesquely frenzied work that never once feels tethered to any sort of believability. Goodman is all loud cadence and affectations, meant to signal the incompetence of a significant world leader but ultimately feels more like a waste of his talent. None of them are done a greater disservice than Sandra Hüller, unfortunately giving a career-worst performance as Digger’s shrill half-sister. It’s a small part, but one that strips her of the subtleties she thrives on, forcing her to forsake them in the name of Iñárritu’s preferred bluntness, which leaves her stranded in a sea of overacting. Ahmed is the only one who manages to navigate these waters, somehow creating an alluring characterization of this distressed scientist. Even within the limiting framework, he can find a level of charm that is infectious, even poking at a more profound understanding of a character dealing with internal conflict. It’s a greater testament to his skillset to craft such an enthralling portrayal.
There’s a word that a lot of critics like to use, and that is “bombastic.” Most ascribe it to something that is generally loud and kinetic, like simply describing a fast-paced action set piece. However, that’s not really the most accurate definition. The word actually describes aspects that come across as loud and excessive but actually have very little meaning behind the messaging. So many of Iñárritu’s films fit this description, but it feels even more pointed with “Digger.” There’s a clear sense of glee when the curtain is pulled back in this story, as if it’s trying to complicate the narrative and add deeper significance. But it becomes clear that the dueling natures don’t intersect much, at least in terms of gleaning a more profound statement. Through the smoke and mirrors and extended speeches, what is actually being communicated is little more than a tacit acknowledgment that the world sucks, then being pushed off with a thick aura of smugness. The filmmaking can’t completely overcome it, nor can it mask the shockingly subpar performances from most of the ensemble. Once again, a filmmaker tries very hard to impress upon all of us a daring story that plays with traditional expectations in the hopes of unearthing a more interesting analysis. And once again, his hand exposes very little that impresses on such a scale.
