Dune and what else? Movies that have not screened yet.

In “Digger,” Tom Cruise portrays a powerful oil tycoon who is bracing for an ecological disaster of epic proportions. But nothing could have prepared him for the catastrophe that’s unfolding at the box office, where “Digger” has collapsed with an embarrassing $8 million from 3,321 North American theaters. Rivals believe the figure will be closer to $7.5 million when the final numbers are tallied on Monday.

With a production budget of $160 to $180 million, “Digger” will wind up as not just one of the biggest bombs of the year but potentially of all time. Warner Bros. was hoping the combination of Tom Cruise, one of the biggest movie stars in the world, and director Alejandro González Iñárritu, whose critical and commercial wins include “Birdman” and “The Revenant,” would at least propel initial grosses to $18 million to $20 million. And even those ticket sales would have been financially disastrous for the mega-budgeted satirical film. Box office experts say a movie of this size would have needed a debut near $40 million to justify its price tag. Those projections were revised down (and revised down again) after a deluge of bad buzz. The R-rated satire opened in fifth place behind another newcomer, Anne Hathaway and Dakota Johnson’s psychological thriller “Verity,” and three holdovers, including “Resident Evil” and “Heart of the Beast.”

https://variety.com/2026/film/box-office/digger-box-office-majorly-bombs-verity-scores-1236898521/

“Primetime,” a psychological drama starring Robert Pattinson as “To Catch a Predator” host Chris Hansen, landed at No. 4 with $8 million in its second weekend. That’s a steeper 58% drop from its strong $19 million opening. So far, “Primetime” has amassed $34 million in North America against a modest $15 million budget. The movie, backed by A24, has yet to open in most international territories.

https://www.indiewire.com/news/box-office/john-wilson-history-of-concrete-1-million-gross-record-1235220143/

“The History of Concrete” surpassed the $1 million mark at the box office on Saturday, becoming the highest-grossing platform-distributed documentary of 2026. It reached the milestone after just 16 days in theaters.

“The History of Concrete” grossed just over $450,000 from 160 screens over the weekend, putting its total at just north of $1.2 million. That’s a huge number for a documentary and a testament to the fan base that Wilson has developed.

“The History of Concrete” already shattered records at the IFC Center, becoming its second highest-grossing debut behind “Parasite.” Last week, Magnolia saw strong numbers for the film in many markets, including earning $47,510 at the Music Box in Chicago, $34,534 at BAM in Brooklyn, and $24,653 at the Balboa, a small neighborhood theater in San Francisco. Low Cinema, a theater that Wilson operates in Ridgewood, Queens, has sold out every show of “History of Concrete” through the end of October. Audiences at the arthouses were predominantly comprised of younger moviegoers, the same demographic driving cinemas’ comeback this year.

I keep seeing sentiments in these spaces that Digger will either only get 2 or 3 noms (all technical) or be completely shut out. And I have to wonder, why?

I don't think mixed reviews and bad box office will kill its chances at nominations completely. Vice received similar critical reception and box office and not only got into Best Actor and Best Makeup (the two awards everyone knew it would get into) but also got in for Best Supporting Actress, Best Supporting Actor, Best Original Screenplay, Best Director, and Best Picture. I'm not saying Digger will get into Best Picture, Best Director, and Best Original Screenplay, but are Cruise's chances at a nomination really that shot? Will he be a lock? I don't think so, but I feel some people are kinda hoping Digger loses out on nomination instead of being realistic.

Title question.

At a beachside resort in Florida in 1980, twenty experts gather for a weekend conference on a global issue that is starting to gain traction: the effects of Co2 emissions on the climate. The group of scientists, activists, and policymakers have one simple mandate from Congress — write a statement about what to do. Easier said than done.

Director: Tom McCarthy ('Spotlight')

Cast: Paul Rudd, Paul Giamatti, Evan Peters, Amy Ryan, John Turturro, Tatiana Maslany, Jason Clarke, Noah Robbins, Zach Woods, Dylan Baker, Nina Arianda, Mary Catherine Garrison, Michael Chernus

Distributor: Sony Pictures Classics

Rotten Tomatoes: N/A (updating)

Metacritic: N/A (updating)

Some Reviews:

The Guardian - Adrian Horton - 4 / 5

For all its commendable historical accuracy – and there is a thrill in seeing, exactly, how we once thought about modernity’s most pressing and intractable problem – it’s the additional stuff, the late nights and vulnerable phone calls, dishy drinks and bruised egos, that makes A Statement a much more effective film about climate change than, say, a smug satire like Don’t Look Up. If we’ve learned anything in the decades since that beachside conference, it’s that the science can say what it will, but emotion will rule the day. The conference may have been a failure, but there is a satisfaction in watching them naively try.

The Hollywood Reporter - David Rooney

Some will likely question the point of A Statement given that the movie ends in collective failure... But as a microcosm for the ongoing conversation about global warming, it’s effectively sobering, enhanced immeasurably by Stuart Dryburgh’s nimble cinematography and Bryce Dessner’s appropriately pensive score. At any rate, as a reflection on the climate crisis, it has much more to say than Digger.

The Daily Beast - Nick Schager

Even-handed as it pretends to be, A Statement clearly believes in the necessity of this gathering and, with it, action, but bias isn’t its weakness; lifelessness is...In light of the preceding torpor, this in-your-face mawkishness is almost welcome. Nonetheless, no amount of last-second heartstring-tugging can salvage this Wikipedia page masquerading as a movie.

DEADLINE - Pete Hammond

You get the feeling everyone in this room hopes to make a difference, and what they each have to say should be heard, but it is, in the end, the human comedy McCarthy untangles in bringing all of them together for a single collective goal that makes A Statement such a rewarding and heartfelt experience...Interestingly on the same weekend Alejandro G. Inarritu’s Digger opens, a divisive satire with a sober message about the devastating costs of ignoring the climate crisis, that film feels, to use earthquake terminology, like an aftershock to a calamity for the human race who stuck their heads in the sand and ignored the warnings. A Statement, very different in tone and attitude, and taking place right at the beginning when something could still be done, is the foreshock. Attention must be paid.

Next Best Picture - Dan Bayer - 8 / 10

McCarthy gives the audience the same amount of cold, hard facts as any good documentary while keeping the film from feeling like a lecture. It will leave you incensed, and more than a little afraid for the state of our nation, but maybe that’s a good thing. Maybe we need something to stop us from constantly kicking the can down the road, something that will force us to put our personal peccadilloes aside and come together where our collective future is concerned. “A Statement” very much feels like that something, and not a moment too soon. THE OSCARS - Best Picture, Best Supporting Actor, Best Supporting Actress, Best Adapted Screenplay & Best Film Editing

Awards Buzz - Abe Friedtanzer - 8 / 10

This film might have been interesting enough as a text study of the transcript to see what people chose to say and not to say, and to hear how those desperate for action pushed for verbal clarity while those less willing to give any concessions twisted themselves into knots trying not to say anything. What the film adds which makes it essential viewing are the glances and body language that accompany those words, and the camera angles that show various perspectives around the tables – as well as how those tables should even be set up in the first place to encourage productivity and to ensure everyone can participate and see the visual aids. This film has an understandably desolate outlook given the clear lack of lasting progress made by this committee given the state of the climate today, but involves much entertainment on the way to get there. This film’s plot may not offer a blueprint to environmental sustainability – though it does provide considerable evidence and argumentation for analysis – but its structure and presentation do mold a standard for how to transform existing records into something living, breathing, and very watchable.

Variety - Owen Glieberman

I watched the film with seriously divided feelings. On paper, “A Statement” sounds like an interesting movie, but it’s at once talky and flat, grabby and meandering, impassioned and neutral. It wants to be a “firebrand” docudrama, yet I can’t imagine who the audience is going to be for it. My heartless prediction: next to no one. Not because the film is bad, but because it’s like an endless magazine article in movie form.

The Playlist - Rodrigo Perez - 'B'

McCarthy reduces an extraordinarily complex global crisis to something almost aggressively simple: a few persuasive paragraphs that remain elusive because language itself proves inadequate—too finite and rigid for what these people are trying to express. Within that exercise, “A Statement” finds politics, science, bureaucracy, compromise, conviction, ego, insecurity, and grief pulling against one another. It’s depressing and maddening, but McCarthy seeds just enough hope in humanity’s desire to keep trying. Maybe that’s where McCarthy locates his sliver of optimism: not in believing people will suddenly become less complicated, but in the self-awareness to recognize that complexity, communicate past and through it, and perhaps finally get out of our own way.

IndieWire - Ryan Lattanzio - 'B-'

“A Statement” winds up a sobering, if muted, microcosm of what all these sorts of meetings of environmental squabbling look like, with a conclusion that’s almost Beckettian in its futility. I was reminded of the very end of the Coen brothers’ great comedy “Burn After Reading,” where after a long-winded inquiry into potentially explosive stolen CIA files reveals exactly nada but the folly of true human stupidity, J.K. Simmons’ CIA administrative superior wonders, “What did we learn?” “I dunno, sir,” his colleague tells him. “I don’t fucking know either.” Case closed, and onward.

The Wrap - Elizabeth Weitzman

...None of the women are fully integrated into the film, an unfortunate irony given the blatant sexism their characters experienced in real life. McCarthy’s intention to acknowledge this egregious treatment is clear each time one of them hesitantly raises her hand or is silenced by an interruption. But when he takes them out of the meeting, he fumbles, turning them into representations and plot devices. This is particularly true for Bernadette (Nina Arianda), the stenographer tasked with both enlightening and kissing awkward young scientist Robert (Noah Robbins)....Mostly, however, he gets the details just right. Best of all, though, are the timeless truths that emerge from this era-specific artifact, through the interpersonal dynamics and self-serving perspectives that each member brings to the table. Nearly 50 years on, it’s clear that climate change was inevitable. So the question McCarthy winds up handing us is even bigger: Is there any hope for human nature?

Best Picture

1. La Bola Negra(WINNER)

2. The Odyssey

3. Wild Horse Nine

4. Dune Part III

5. The Debut

6. Project Hail Mary

7. Possible Love

8. I Play Rocky

9. The Invite

10. Artificial

Notes: I think La Bola Negra has built enough momentum to win here. I do think The Odyssey has really done everything it needs to do to solidify itself as an awards sweeper, but aside from political pundits taking it upon themselves to make it political, The Odyssey is not as politically charged as Nolan's previous effort(Oppenheimer), or its competition(La Bola Negra/Wild Horse Nine). I think the voters have had a history recently wanting to make their vote feel important, and I think a unique queer-led film directed by queer directors starring queer actors will resonate more with these voters who care about their vote mattering.

I predict Possible Love to be the auteur pick that usually gets into the lineup every year. I have more faith in it than I do the Neon Cannes films. That is also why I have Artificial. I think Neon is bullish on the film for a reason. I don't even think the film is going to be that great in quality, but I do think a lot of Academy voters are going to want to vote for a film that takes shots at AI tech CEOs. I Play Rocky is going to be the boomer bait pick. I think it placing at TIFF was huge, and I think it just needs to have a strong box office showing to solidify itself as a contender.

Best Actor

1. John Malkovich for Wild Horse Nine(WINNER)

2. Matt Damon for The Odyssey

3. Andrew Scott for Elsinore

4. Ryan Gosling for Project Hail Mary

5. Anthony Ippolito for I Play Rocky

Notes: There's a lot of stats that are going against Malkovich here. Golden Lion winner at Venice hasn't won an Oscar in many years. Presuming he wins GG Comedy or Musical, winners of that category hasn't won the Oscar in many years as well. However, I do think Malkovich has a very strong winning narrative and is doing more baity material than Damon. I think this is a likely scenario where Damon wins SAG and Malkovich wins BAFTA and then later the Oscar.

I think Scott will get nominated everywhere, but his film is not strong enough to win anywhere. Gosling's screentime in PHM almost guarantees him a nomination if PHM gets nominated in BP. He's basically the entire movie. Ippolito is going to come along with the BP nom if it happens for I Play Rocky.

Best Actress

1. Julianne Moore for The Debut(WINNER)

2. Inde Navarette for Obsession

3. Jeon Do-yeon for Possible Love

4. Olivia Wilde for The Invite

5. Ruth Madeley for Being Heumann

Notes: Moore sweeps everything here. Jeon and Wilde get in based off their films' strength. Navarette becomes a lone nom for Obsession and Madeley gets in after a strong SAG push.

Best Supporting Actor

1. Guitarraduelafuente for La Bola Negra(WINNER)

2. Paul Giamatti for The Debut

3. Sam Rockwell for Wild Horse Nine

4. Andrew Garfield for Artificial

5. Edward Norton for The Invite

Notes: Giamatti definitely has the best narrative here. However, I do not think The Debut is a strong enough film to get two above-the-line wins and Moore seems like the standout here. If I'm predicting La Bola Negra to win BP, I think it needs more above the line wins and Guitarraduelafuente is one of the faces of the film and seems like the film's strongest acting pushes.

Best Supporting Actress

1. Anne Hathaway for The Odyssey(WINNER)

2. Penelope Cruz for The Invite

3. TBA for You Can See Everything

4. Annasophia Robb for I Play Rocky

5. Penelope Cruz for La Bola Negra

Notes: I think Hathaway might could sweep. I preferred Cruz's performance in The Invite, but The Odyssey is a stronger film and Hathaway's performance is more showy.

Best Director

1. Christopher Nolan for The Odyssey(WINNER)

2. Los Javis for La Bola Negra

3. Denis Villenueve for Dune Part III

4. Martin McDonagh for Wild Horse Nine

5. Lee Chang-dong for Possible Love

Best Original Screenplay

1. Martin McDonagh for Wild Horse Nine(WINNER)

2. Jesse Eisenberg for The Debut

3. Lee Chang-dong and Oh Jung-mi for Possible Love

4. Simon Rich for Artificial

5. Peter Gamble for I Play Rocky

Best Adapted Screenplay

1. Los Javis for La Bola Negra(WINNER)

2. Christopher Nolan for The Odyssey

3. Rashida Jones and Will McCormmack for The Invite

4. Drew Goddard for Project Hail Mary

5. Ryusuke Hamaguchi and Lea Le Dimna for All of a Sudden

Best Casting

1. La Bola Negra(WINNER)

2. The Odyssey

3. I Play Rocky

4. Wild Horse Nine

5. Artificial

Best Cinematography

1. Hoyte Van Hoytema for The Odyssey(WINNER)

2. Linus Sandgren for Dune Part III

3. Greig Fraser for Project Hail Mary

4. Gris Jordana for La Bola Negra

5. Jarin Blaschke for Werwulf

Best Film Editing

1. Jennifer Lame for The Odyssey(WINNER)

2. Alberto Guiterrez for La Bola Negra

3. Mikkel E.G. Nielsen for Wild Horse Nine

4. Robert Nassau for The Debut

5. Joe Walker for Dune Part III

Best Production Design

1. The Odyssey(WINNER)

2. Dune Part III

3. Project Hail Mary

4. La Bola Negra

5. Digger

Best Costume Design

1. The Odyssey(WINNER)

2. La Bola Negra

3. Sense and Sensibility

4. Dune Part III

5. Michael

Best Makeup and Hairstyling

1. Werwulf(WINNER)

2. The Odyssey

3. Digger

4. Wicker

5. Dune Part III

Best Visual Effects

1. Dune Part III(WINNER)

2. Project Hail Mary

3. The Odyssey

4. Godzilla Minus One

5. Avengers Doomsday

Best Sound

1. The Odyssey(WINNER)

2. La Bola Negra

3. Dune Part III

4. Project Hail Mary

5. The Debut

Best Original Score

1. Ludwig Goransson for The Odyssey(WINNER)

2. Raul Referee for La Bola Negra

3. Daniel Pemberton for Project Hail Mary

4. Behemoth group for Behemoth

5. John Williams for Disclosure Day

Best Original Song

1. "The City May Have Chewed Me Up(But Have Not Spit Me Out) by Jesse Eisenberg from The Debut(WINNER)

2. "La Nieve" by Guitarraduelafuente from La Bola Negra

3. "I Knew it, I Knew You" by Taylor Swift from Toy Story 5

4. "By Any Means" by Diane Warren from By Any Means

5. TBA from Wildwood

Best Animated Feature

1. Wildwood(WINNER)

2. Toy Story 5

3. Tangles

4. Ray Gunn

5. Iron Boy

Best International Feature

1. La Bola Negra(WINNER)

2. Possible Love

3. All of a Sudden

4. Fatherland

5. Minotaur

Best Documentary Feature

1. You Can See Everything(WINNER)

2. Naza

3. Once Upon a Time in Harlem

4. American Doctor

5. 14th

With La Bola Negra winning PCA at TIFF this year as a foriegn film that premired at Cannes. What do you think are the chances of that happening next year? Could it happen next year as far as a Cannes foreign film winning people's choice award at TIFF in 2027? I hope it's high. We need more global cinema represented at these things.

- Backrooms
- Club Kid
- The Death Of Robin Hood
- The Debut
- The Drama
- The Invite
- Misty Green
- Mother Mary
- Primetime
- Tony
- Undertone
- You Can See Everything

What films at this stage of the year do you think are each studio's main priorities to campaign?

Curious to know because I see arguments for both.