Those who have seen Alejandro Inarritu’s films (especially his Spanish-language films ) know he explores heavy subject matter; grueling narratives that wear down their characters and the audience. Even if they might contain an air of self-importance, they are often emotionally devastating - crafted with an artistry that feels painstakingly handmade.
Inarritu probably attracts A-list actors because his protagonists usually undergo weighty, existential journeys. It allows actors to challenge themselves and experience a rare level of immersion. Michael Keaton (Birdman ) and Leonardo DiCaprio (The Revenant ) have given career-defining performances, while Javier Bardem also delivered memorable work in Biutiful (2010 ).
Digger sees this revered filmmaker unite with premier movie star, Tom Cruise: a curious partnership given their conflicting career trajectories. It seemed that Cruise would be satisfied as the death-defying action star for the foreseeable, abandoning the dramatic work of the Nineties and Noughties which molded him into an icon. Not only was Cruise’s U-turn unexpected, but Inarritu’s sharp swerve to slapstick satirical comedy also came as a surprise.
Cruise gets a drastic makeover as ‘Digger Rockwell’, an eccentric American oil magnate who discovers that his drilling in Greenland has resulted in cataclysmic glacier damage which threatens critical environmental consequences for Europe and the United States.
This may be one of the more divisive films this year. The unabashed broadness of the comedy, exaggerated visuals and downright bizarre creative choices will appeal to those who are willing to go along with it, perhaps drawn to its wackiness. Others might see its design as overly gaudy, and its commentary on the United States’ most powerful figures as glaringly shallow. I would agree with the latter, especially given the breadth of talent and enormous budget this film had to work with.
An incredible ensemble of actors including Riz Ahmed and John Goodman who, for the most part, over-act their way through some amusing scenes, amount to a rather draining experience. Although Jesse Plemons does stand out as an ominous presence lurking mysteriously at the edges of the frame, before commanding a pivotal scene in a refreshingly more considered and understated performance.
The film begins at a high volume and rarely lets up over its two-hour runtime. Inarritu’s bravura direction, partnering with revered cinematographer Emmanuel Lubezki, does not have the impact it desires, because what is actually happening in-frame, becomes exasperating, very quickly.
Inarritu rarely presents his narratives in a straightforward manner, and Digger is no different, evidenced by its exploration of reality and fiction. This aspect of the film is more nuanced and thought-provoking. Once the film reaches its resolution however, it does not feel as though Inarritu and his co-writers justify the story’s framing. The final image, although effective for how specific and piercing it is, jars because of how tonally distinct it is from everything that came before. It leaves one feeling very unsure about the film as a whole.
Digger has been perceived as Cruise’s Oscar play. He is yet to win the coveted statuette after three nominations. Cruise clearly gets a thrill from slapstick comedy because he commits wholeheartedly to portraying such a repulsive character. While this is entertaining, it quickly becomes repetitive. The role’s more emotional, straight-faced demands do not connect, maybe because at times it seems as though we are watching a Tom Cruise substitute.
Digger is a bold, original idea, but at a time when audiences seek fresh, risk-taking films, this example does not make for a strong supporting argument.
2/5 stars
In Galway cinemas now
