Greetings again from the darkness. There will likely be a very distinct line of demarcation between those who ‘dig’ DIGGER and those who don’t. Director Alejandro Inarritu, who won Oscars for THE REVENANT (2015) and BIRDMAN (THE UNEXPTED VIRTUE OF IGNORANCE, 2014) and a list of five esteemed writers (Sabina Berman, Jez Butterworth, Alexander Dinelaris, Nicolas Giacobone, Inarritu) seemingly crafted a film that looks amazing, while intentionally angering or annoying or confusing a big chunk of movie goers. Not only will those who prefer traditional storytelling be frustrated, the politics involved will surely irritate many (and drive some nasty comments).
The studio has requested that no spoilers or hints be included in reviews, so I will tread extremely lightly here. An added reason is that the film is certainly best viewed ‘cold’ or with no preconceptions. If you’ve seen the video, you know immediately that this is a much different Tom Cruise character than the strutting, cocky, too-cool-for-school Ethan Hunt that he’s portrayed in numerous “Mission: Impossible” films. It’s his best non-action role since MAGNOLIA (1999), and also his most exuberant (some will say over-the-top). Under prosthetics that transform him into a man that looks his actual age, Cruise becomes Digger Rockwell, a man of enormous wealth, influence, and ego. Cruise has a couple of extended single takes, one of which is mesmerizing in the sheer amount of dialogue he recites and the physicality he displays.
As you would expect, many actors jump at the chance to work on an Inarritu film, and here the cast includes Oscar winner Riz Ahmed as Dr. Ganesh, John Goodman as President Compson, Michael Stuhlbarg as the Vice President, Sandra Huller (one of my 3 favorite actresses since TONI ERDMAN, 2016), Robert John Burke as Fitzgerald, and Jesse Plemons as Kenny. Ahmed is excellent in his role, while Goodman makes his mark with world class bellowing. Huller’s smaller role is a bit disappointing, but fortunately she has a starring role in Pawel Pawlikowski’s new film, FATHERLAND.
Even beyond the studio restrictions, I’m at a bit of a loss as how best to review this film. It’s likely meant to be satire as it takes on big issues like contemporary politics, global issues, ecological concerns, and socio-economic fallout. My view is that it’s a blend of Kubrick’s classic DOCTOR STRANGELOVE and some Coen Brothers films (minus the hilarity), topped off with editorial commentary on backroom politics and corporate greed. Controlling the narrative is a clear objective of these characters. The film takes one huge change of direction early on, and then another much later … the second being easier to foresee. These shifts will definitely challenge viewers, while also leaning into the creativity noted by those of us who find things to admire about the film.
Inarritu’s team is as superb as expected. Three-time Oscar winner Emmanuel Lubezki expertly handles the VistaVision cinematography, while Oscar winner Dennis Gassner awes us with Production Design. As an added bonus, the song playing over the closing credits is the excellent (and quite fitting) “Look What They’ve Done to My Song, Ma” by Melanie. But then, not everyone will stick around that long.
Opens in theaters on October 2, 2026
Posted by David Ferguson 
Like many families, our holiday traditions include annual viewings of the 1966 animated “How the Grinch Stole Christmas”, A CHRISTMAS STORY (1983), and, of course, the main event, IT’S A WONDERFUL LIFE (1946). The latter, Frank Capra’s classic, is now 80 years old, and the timing is perfect for a deep dive into why this film has made such an impact on so many viewers over the years. Co-authors Emily St James and Lauren Theisen clearly share a love for the film and fully engage when writing about the individual pieces that make up the whole: the studio, the filmmakers, the cast, and a couple of odd (perhaps lucky) breaks along the way.
Greetings again from the darkness. Director David Ayer (the excellent END OF WATCH, 2012) is no fool. He wisely begins the movie by putting the audience at ease. Yes, the dog survives. We learn this in the opening scene he blocks the road of a pickup driver (Anna Lambe, “True Detective”). We immediately shift to flashback mode, unsure whether the dog’s owner is still alive. The first feature film screenplay from Cameron Alexander benefits immensely from a couple of key factors: stunning scenery and a touching bond between man (Oscar winner Brad Pitt) and dog (Odin, a properly renamed Uber).
Greetings again from the darkness. Director Lance Oppenheim (SOME KIND OF HEAVEN, 2020) and co-writers Luke Dittrich and Ajon Singh toss nearly two hours of psychology at us, leaving us to fend for ourselves on how best to define evil and acceptable boundaries of ethics and decency. It’s a bit of a mind twister that some may define as horror, while others cast it as satire. Regardless of your take, I found this to be a mesmerizing look at the things that make some people tick.
Greetings again from the darkness. One of the most frightening things in existence is when mental illness blends with brilliance. Ted Kaczynski was a 16-year-old math prodigy at Harvard in 1958, and then arrested in 1996 after being identified as the Unabomber. His reign of terror covered 1978 through 1995, and his bombings were responsible for three murders and twenty-three injuries. The manhunt was the longest and most expensive in FBI history.
Greetings again from the darkness. Shaun the Sheep is a British creation dating back thirty years or so. It’s through Aardman, the same imaginative studio as the brilliant ‘Wallace and Grommet’ characters and stories. Through multiple series and feature movies, we’ve come to know and love the claymation Shaun and his misadventures. This latest from co-directors Steve Cox and Matthew Walker, and co-writers Mark Burton and Giles Pilbrow, is yet another entry that will entertain adults and kids of all ages.
Greetings again from the darkness. This year’s batch of Hallmark Christmas movies hasn’t hit yet, so for those fans, here’s the next best thing … a Romantic Comedy based on the New York Times bestseller written by Ali Hazelwood. Directed by prolific TV director Claire Scanlon, with an adapted screenplay by Sarah Rothschild, the film delivers easy comedy with a burst of ‘Girl Power’.
There are fans of baseball and then there is Peter Gammons. He’s on another level with his passion for the game, appreciation of its history, and respect for its players. While there are quite a few talented baseball writers, Mr. Gammons expertly utilizes his love of the game to describe what he’s seen and what it means to him. In this book, baseball history is the foundation, but it’s Gammons’ knowledge, experience, and adoration that feed his perspective and the words that fill the pages.
Greetings again from the darkness. My decision to review this movie was based on one thing: it’s the feature film directorial and screenwriting debut of Agata Trzebuchowska, who starred in Pawel Pawlikowski’s excellent IDA (2013). That was the extent of my research for this film from Poland, and now after watching it, I am at a loss on how to review without spoiling anything about it. Simply stating that the twists will surely surprise you is not enough – and it helps if you are unaware, as I was, of the film’s genre prior to watching.
Greetings again from the darkness. Padraic McKinley, a film editor by trade, makes his feature film directorial debut with one that feels like a throwback. And that’s not just because it’s based in 1933 Eugene, Oregon during the depression. This is a period thriller that maintains our interest through characters and setting and story. What’s unusual is that there are four writing credits: Matthew Booi, Shelby Gaines, Leo Scherman, and Matthew Chapman … usually not a good sign, but most of it works pretty well here.
