‘Digger’
Directed by Alejandro G. Iñárritu (R)
★★
“It’d be a mistake to judge Digger by the standards of a normal film,” said Amy Nicholson in the Los Angeles Times. Alejandro G. Iñárritu’s over-the-top new satire, featuring Tom Cruise in “his riskiest role in eons,” offers viewers no hope, “only a seductive, mischievous malevolence that, by design, feels empty as soon as the end credits roll.” But maybe that’s intended, because the subject is climate collapse and the Oscar-winning director of Birdman and The Revenant doesn’t seem to think there’s any way to avoid the catastrophe. Cruise plays Digger Rockwell, a greedy oil baron who has unleashed an environmental disaster, and Cruise is so committed to the villainous role, “we can’t take our eyes off him,” said Bilge Ebiri in NYMag.com.
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Unfortunately, “the only other actor besides Cruise I enjoyed watching was Riz Ahmed,” in the role of a science consultant to Digger. The rest is so aggravating that “it’s like being trapped inside a tuba for two hours.” Here’s the thing, though: Except for a major twist that backfires, “the movie knows what it’s doing.” It’s meant to horrify. I found it “rage-inducing” for a different reason, said Johnny Oleksinski in the New York Post. Cruise and Iñárritu think they’ve made an urgent film but are “blinded to their baby’s badness” by their egos. Despite having “all the makings of a prestige hit,” Digger “lacks a single funny joke or even half-believable moment.” At least it’s likely to vanish quickly. “Nobody will be debating this movie. It’s not worth the time.”
‘The History of Concrete’
Directed by John Wilson (Not rated)
★★★
Fans of How To With John Wilson, the acclaimed 2020–23 TV docuseries, will be pleased that Wilson’s big-screen debut is “essentially a 100-minute version of an episode,” said Adrian Horton in The Guardian. Consistently compelling, surprising, and “laugh-out-loud funny,” The History of Concrete follows the documentarian as he again takes a mundane subject and uses it to spin out intriguing detours, memorable visual jokes, and insightful ruminations about the human condition. Yes, Wilson’s “casual, ambling” film provides a lot of information about concrete—possibly the most-used human-made substance on the planet, said Stephanie Zacharek in Time. Mostly, though, “it will show you how Wilson’s mind works, how it jumps from one seemingly random thought to the next and miraculously connects them.”
Wilson’s curiosity takes him to some far-off places, including Rome, but the best segments grow out of his encounters with fellow New York City–area eccentrics, including an aging musician he befriends and helps guide through personal loss. In truth, much of this “weird, fun” film is about the difficulty of securing financing to make a documentary, “especially if it’s about concrete,” said Alissa Wilkinson in The New York Times. But because Wilson’s wanderings eventually lead to a poignant conclusion that ties all the loose threads together, “you’re left wondering how a movie about concrete could leave a lump in your throat.” Of course, “that’s how Wilson works, making us see what we might not have otherwise.”
