For the first time in nearly twenty years, Tom Cruise has failed to deliver a strong box office opening. His latest film, Digger, earned just $8 million at the domestic box office this weekend according to Deadline, marking its lowest opening since 2007’s Lions for Lambs and falling well short of what Warner Bros. expected from one of the studio’s most reliable stars.
The numbers represent a stark departure from the era in which Cruise has typically thrived at the box office. His career includes some of the highest-grossing films of the past two decades, with 2022’s Top Gun: Maverick standing out as a particular highlight that drew massive global audiences. Digger, by contrast, finished as only the fifth highest-grossing film of the weekend, trailing behind the newly released Verity in its opening run.
An Expensive Bet That Failed to Pay Off
The financial disappointment carries added weight given the scale of the production. Digger reportedly cost upwards of $160 million to produce, a figure that would normally demand a commanding opening weekend to justify its budget through theatrical returns alone. The film’s domestic haul sits only slightly above the $6.7 million Lions for Lambs brought in nearly two decades ago, underscoring how dramatically the film has underperformed relative to both Cruise’s recent track record and industry expectations.
The result also places Digger behind a crowded field of competing titles this weekend. Verity led the box office with $32.6 million, while Resident Evil claimed second place at $12.5 million and Heart of the Beast earned $11 million in its opening run. The film’s modest performance suggests Warner Bros. may face an uphill battle recovering its investment through theatrical windows alone.
A Divisive Art House Venture
The box office numbers were perhaps not entirely surprising given how divisive Digger has proven among critics and audiences alike. Directed by Alejandro G. Iñárritu, the acclaimed filmmaker behind films such as Birdman and The Revenant, the movie is a subversive drama with multiple big twists and no real pre-existing analogs to draw audiences toward it.
This is not a film built for mass appeal in the way that Top Gun: Maverick was. Its unconventional structure and challenging material mean it may take a week or two of cultural discourse before viewers truly understand what it is about, potentially allowing word of mouth to build more slowly than a typical wide release.
“Digger probably won’t succeed by any of the financial or critical standards that capitalism has decided matter for a movie like this one, but that’s probably for the best when Iñárritu seems determined to reject all those things as vehemently as possible.”
Polygon
The review captures the essential tension surrounding the film. Digger demonstrates that not every project from a lauded director and lead actor can replicate the kind of blockbuster success The Odyssey achieved in July, even when the creative pedigree is equally impressive. When a movie remains as original and quirky as Digger, questions arise about whether mainstream commercial expectations should apply at all.
The Weekend’s Top Earners
For viewers wondering which films outperformed Cruise’s latest, the weekend’s rankings reveal a diverse slate of titles drawing audiences. Beyond the leaders already mentioned, other films that grossed more than Digger included Forgotten Island with $7.2 million and the Avengers: Endgame Encore re-release earning $4.4 million.
The full top ten also featured Primetime at $8 million, Drishyam — The Conclusion at $2.7 million, Practical Magic 2 at $2.655 million, and Spider-Man: Brand New Day at $2.45 million. This spread illustrates how the current theatrical landscape rewards everything from franchise re-releases to genre films, even as prestige dramas struggle to find their audiences.
Looking Ahead
Digger’s theatrical run continues this weekend and beyond, with its long-term performance likely to depend heavily on critical reappraisal and audience discussion rather than opening weekend momentum. The film represents an ambitious artistic statement from Iñárritu, even as the box office reveals the commercial risks such ventures carry.
For Cruise, whose career has been defined by consistent box office dominance, this marks a notable low point that will be closely watched by industry analysts tracking whether his star power can still drive audiences into theaters. Whether Digger finds its audience through later home entertainment and international markets remains to be seen as the film continues its run.
1 comment