REVIEW: Digger (2026 Film) - Starring Tom Cruise

Review by Jon Donnis

Alejandro González Iñárritu's Digger is an ambitious black comedy that takes aim at corporate greed, political hypocrisy and the environmental consequences of humanity's dependence on fossil fuels. Starring Tom Cruise as an ageing oil magnate facing the consequences of his company's actions, this film has plenty of ideas, impressive visuals and a genuinely committed central performance. Unfortunately, its humour and storytelling do not always match its ambitions.

Cruise plays Digger Rockwell, a wealthy businessman whose drilling operations trigger an ecological catastrophe. As the situation threatens to spiral out of control, he attempts to present himself as humanity's saviour, despite his own role in creating the crisis. It is an absurd premise with obvious satirical potential, particularly when the politicians around him appear more interested in protecting their reputations than addressing the problem.

Cruise is the film's biggest asset. Moving away from his familiar action-hero roles, he delivers an exaggerated, theatrical performance that makes full use of Digger's arrogance, desperation and delusions of grandeur. He commits wholeheartedly to the character, creating a figure who is both ridiculous and strangely compelling. It is a welcome reminder of Cruise's range, and his performance provides much of the film's energy.

The visuals are another highlight. Iñárritu makes effective use of colour, movement and scale, while the production design gives the film a distinctive appearance. The environmental catastrophe provides opportunities for striking imagery, and the craftsmanship behind the sets and carefully constructed environments is evident throughout.

The storytelling is more unconventional than the initial premise suggests. Digger explores the relationship between theatre, cinema and reality, using a stage production as a means of examining how society processes disaster and human suffering. This approach adds an interesting dimension to the film, raising questions about whether satire can genuinely challenge those in power or simply turn serious issues into entertainment.

Its environmental and political commentary is also relevant. Digger's defence of his business interests exposes the convenient arguments used to excuse corporate responsibility, while the political response highlights the dangers of prioritising public image over practical solutions. These ideas give the film substance beyond its more outrageous comic situations.

However, Digger is considerably less successful when it comes to making its audience laugh. Much of the humour feels forced, with absurd situations and exaggerated performances failing to deliver the consistent laughs the film needs. The satire occasionally feels more concerned with being provocative than being funny, leaving some potentially effective moments disappointingly flat.

There is also a tendency to overstate its message. Corporate greed and political hypocrisy are clear targets, but the film repeatedly returns to familiar points instead of allowing its ideas to speak for themselves. This heavy-handed approach, combined with a running time of over two hours, makes parts of the film feel unnecessarily drawn out.

The supporting cast includes Riz Ahmed as environmental safety chief Dr Nirav Ganesh, John Goodman as President Compson, Michael Stuhlbarg as Vice President Eddie, Sandra Hüller as Emma Rockwell and Jesse Plemons as Kenny Rockwell. The ensemble is impressive, but several characters receive limited development, leaving talented performers with less to work with than their casting might suggest.

The film's structural experimentation is intriguing, although not entirely successful. Its shifting perspective changes how the audience understands the story, but the transition does not always feel seamless. While the theatrical elements provide an opportunity to explore the limits of satire, they occasionally interrupt the momentum rather than strengthening the drama.

Pacing remains a problem throughout. Some scenes linger beyond their usefulness, while repeated commentary dilutes the impact of the film's stronger observations. A tighter edit would have given the comedy more room to breathe and helped the central ideas land with greater force.

Digger is ultimately a mixed bag, but there is more to admire than criticise. Its visual ambition, willingness to experiment and contemporary themes make it an interesting film, while Tom Cruise delivers a bold performance that lifts the material above its weaker moments.

The inconsistent humour, underdeveloped supporting characters and occasionally self-important approach prevent it from reaching its full potential. Nevertheless, there is enough here to make it an enjoyable watch, even if the finished film falls short of what its ambitions promise.

Digger could, and perhaps should, have been better, but Cruise gives it a strong centre and Iñárritu delivers a film that is difficult to dismiss outright.

I score Digger a fair 7 out of 10.

Out In Cinemas Now

FREE MOVIE - War of the Worlds (2005 Film) - Starring Tom Cruise

War of the Worlds (2005), directed by Steven Spielberg, stars Tom Cruise as Ray Ferrier, a separated New Jersey dock worker whose weekend with his children quickly turns into a fight for survival when an unexpected global crisis begins.

Ray’s teenage son Robbie Ferrier, played by Justin Chatwin, and younger daughter Rachel Ferrier, played by Dakota Fanning, are staying with him when violent atmospheric disturbances trigger something far worse. Massive alien war machines known as tripods rise across the landscape, launching a coordinated attack that causes widespread panic and destruction as society rapidly breaks down.

As chaos spreads, Ray is forced to take his children on the run. Robbie struggles with Ray’s authority and is drawn towards the idea of joining the resistance, while Rachel becomes increasingly traumatised and dependent on her father for safety. Their journey takes them through collapsing towns, desperate crowds, and a country losing all sense of order.

Along the way they encounter Dr David Kendall, played by Tim Robbins, who briefly shelters them but whose unstable situation adds further danger to their escape. The family is forced to move on as the alien threat continues to tighten its grip on the region.

The story follows their attempt to reach safety while the invasion unfolds on an overwhelming scale, with humanity unable to mount any meaningful defence. The focus remains on Ray’s struggle to protect his children as everything familiar around them disappears.

Buy to keep at https://amzn.to/42BPFjF

REVIEW: Mission: Impossible – The Final Reckoning (2025 Film) - Starring Tom Cruise

Review by Jon Donnis

Ethan Hunt has always been a man running out of time. In Mission: Impossible – The Final Reckoning, that race finally reaches its end, and it does so with the kind of energy, scale and conviction that has come to define the series. Tom Cruise returns for one last mission, and if this is really his final run as Hunt, he's going out on a towering high.

Set just weeks after Dead Reckoning Part One, the story wastes no time setting the stakes. The Entity, a self-aware rogue AI, is expanding its grip on global weapon systems. It's doing so with the help of a fanatical doomsday cult, making the threat less digital and more terrifyingly physical. Governments want control, alliances splinter, and Ethan refuses to give up the one thing that might stop the collapse. From there, the film takes off with the kind of momentum few blockbusters manage to sustain.

Christopher McQuarrie is once again behind the camera, and he knows exactly what to do with this world. The pacing is sharp, the tension builds steadily, and the action is shot with clarity and precision. There's a practical quality to it all that still feels fresh. Real explosions, real stunts, real locations. No CGI overload or hollow digital noise. Instead, we get cold oceans, brutal hand-to-hand fights, and a late sequence that involves Cruise doing something completely unhinged at altitude, just to prove he still can.

Cruise, now firmly in his sixties, doesn't play Ethan like a man pretending to be twenty years younger. There's experience behind the performance. The weight of all his choices sits just behind the eyes. But the fire is still there. Whether he's diving into arctic waters or sprinting through chaos, it all feels grounded in character, not just spectacle. He's not just doing these stunts to show off. He's doing them because Ethan believes this is the only way forward.

The supporting cast does more than just fill space. Hayley Atwell's Grace has evolved into a confident presence, not just a sidekick. Simon Pegg and Ving Rhames continue to carry the emotional load of the team. Pom Klementieff's Paris feels unpredictable and human in all the right ways. Angela Bassett, now in the Oval Office, brings a cool resolve that balances the growing global panic. And Henry Czerny's Kittridge continues to play the perfect political counterweight to Ethan's sense of personal duty.

The action scenes aren't just loud. They're smart. One early mission inside a Cold War sonar base is full of tension and smart problem solving. Later, the team faces off against time bombs, assassins and underwater survival in a way that never feels repetitive. Every moment is used. Nothing drags. The final stretch pulls together everything the series has been building towards, without turning into an overcooked finale.

Importantly, The Final Reckoning keeps the franchise grounded. There's no needless commentary or clumsy messaging. It sticks to story. It sticks to character. It respects its audience by giving them exactly what they've come to love. Real stakes, clear objectives, team dynamics and a moral centre. No woke agenda, just pure, high-quality action filmmaking.

There's sadness to the ending, not because it falls short, but because it signals a real farewell. Cruise has said this is his final outing as Ethan Hunt, and the film treats that with quiet dignity. There's no drawn-out goodbye. Just a sense that the journey has reached its natural conclusion. It's earned. And it lands.

What started nearly thirty years ago as a slick, contained thriller has grown into one of the most consistent and beloved action franchises in modern cinema. The Final Reckoning honours that history, raises the bar once again, and walks away before it wears out its welcome.

This is blockbuster cinema done right. Big, bold, heartfelt and made with care. Not many films feel like proper events anymore. This one does.

Score: 9.5 / 10

Cruise may be stepping off the train, but he leaves it moving at full speed.

In Cinemas Now!