Tom Cruise has spent years persuading audiences to watch him attempt the impossible. With Digger, the challenge is different: convincing moviegoers to embrace an eccentric, darkly comic character who bears little resemblance to his familiar action heroes.

Directed by Alejandro González Iñárritu, the film arrives in US cinemas on October 2, 2026, carrying considerable expectations. Cruise plays Digger Rockwell, an oil tycoon confronting a catastrophe connected to his company’s actions. It is a conspicuous departure for an actor whose recent screen identity has been shaped by spectacular stunts and blockbuster franchises.

Yet the conversation before release has increasingly turned from Cruise’s transformation to a more uncomfortable question: how many people will buy a ticket?

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A costly film facing a modest opening

According to Koimoi’s September 30 report, Digger was tracking for a North American opening below $15 million, against a reported production cost of approximately $125 million. These are reported estimates, rather than confirmed earnings or a final accounting of the film’s costs.

That gap explains the concern surrounding Warner Bros.. An expensive production needs sustained attendance, and a subdued debut would place greater pressure on subsequent weekends and overseas markets.

An opening forecast cannot establish a film’s eventual profit or loss. It can, however, reveal how much work remains for the campaign.

Reviews have complicated the pitch

The critical response has been sharply divided. People reported reactions ranging from admiration for the film’s audacity and Cruise’s commitment to criticism of its scale, coherence and tone.

For potential ticket buyers, that creates an uncertain proposition. Cruise’s presence attracts attention, but attention does not automatically translate into enthusiasm for an unfamiliar kind of film.

The promotional campaign has leaned into that disagreement. The Guardian described advertising that places harsh reactions alongside praise, using the controversy itself to generate interest. Whether that approach encourages curiosity or deepens hesitation remains an open question.

Why ‘Verity’ makes the weekend more intriguing

The Hollywood Reporter expects Digger to open substantially behind Verity, the Amazon MGM Studios adaptation of Colleen Hoover’s novel. hollywoodreporter.com

Starring Anne Hathaway, Dakota Johnson and Josh Hartnett, Verity is also scheduled to open on October 2. Its psychological-thriller premise centres on a writer who discovers a disturbing manuscript while completing another author’s book series.

From a marketing perspective, an established novel and a recognisable thriller setup could offer a more immediate hook. Digger, by comparison, asks audiences to take a greater leap into unfamiliar territory.

The audience verdict is still ahead

Cruise has clearly committed to that leap. At the London premiere, Reuters reported that his transformation involved prosthetics and a padded bodysuit, alongside a demanding performance.

The commercial outcome remains unresolved. Strong audience recommendations could give Digger momentum beyond its initial forecasts. A weak response would make its financial challenge harder.

For now, the film’s biggest suspense lies beyond the screen: whether curiosity about Cruise’s unusual gamble becomes an opening-weekend ticket purchase.

Seven years after its original release, Avengers: Endgame has unfinished business at the box office.

The Marvel Studios blockbuster has overtaken James Cameron’s Avatar to become the highest-grossing film worldwide once again. According to The Walt Disney Company’s October 4 announcement, Endgame now holds an estimated $2.9255 billion, narrowly ahead of Avatar’s $2.9237 billion. That puts just $1.8 million between two of cinema’s biggest hits.

The lead is small. The comeback, however, is substantial: a film released in 2019 has drawn enough fresh ticket sales to rewrite the all-time chart.

The ‘Encore’ release that tipped the balance

The latest theatrical run, titled Avengers Endgame: Encore, has earned $126 million worldwide, according to TheWrap. That includes $36.2 million in North America and $89.8 million from international markets—the extra business that pushed the film back into first place.

Audiences also had a reason to return beyond revisiting a familiar blockbuster. TheWrap reports that the reissue features a modified ending and three new scenes during and after the credits, connected to Avengers: Doomsday. The release therefore serves two purposes: bringing an established favourite back to cinemas and giving viewers a bridge to the next Avengers story.

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A rivalry with a history of reversals

This is another change of leadership in a box office contest that has lasted for years.

Endgame first displaced Avatar in 2019. Cameron’s science-fiction epic regained the crown following its Chinese re-release in 2021. Now, another theatrical return has swung the result in Marvel’s favour. Re-releases have become a decisive part of the competition, extending both films’ earning lives well beyond their original runs.

The distinction matters: this is the record for worldwide theatrical revenue without adjustment for inflation, including re-release earnings. It measures money collected rather than the number of tickets sold.

Why ‘Endgame’ matters to ‘Doomsday’

The timing gives Marvel’s comeback an added significance. Avengers: Doomsday is scheduled to reach cinemas on December 18, 2026, and Disney has positioned Endgame as an important foundation for that next chapter.

Explaining the connection, Anthony Russo said: “You really need to pick the story up from where you left it in Endgame.”

That makes this return more than a victory lap. A film remembered for closing a major chapter of Marvel’s story is now helping introduce the next one—and, along the way, has taken back Hollywood’s most closely watched box office title.

Sixteen years after The Social Network turned Facebook’s beginnings into gripping cinema, Aaron Sorkin is returning to the company with a different question: what happened after it became so powerful?

His new film, The Social Reckoning, centres on whistleblower Frances Haugen and journalist Jeff Horwitz. Sony Pictures describes it as a companion piece to the 2010 film, with a story built around an employee’s decision to expose closely guarded corporate information.

Jeremy Strong takes over the role of Mark Zuckerberg. The Hollywood Reporter characterises his portrayal as sharply villainous, particularly in its treatment of profit and responsibility.

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From Facebook’s beginnings to its public consequences

The film draws inspiration from The Facebook Files, the 2021 Wall Street Journal investigation based on internal documents disclosed by Haugen.

In an interview with Vanity Fair, Sorkin explained the distinction between his two films: “The Social Network was about how Facebook was invented, and The Social Reckoning is what it’s become.”

Mikey Madison plays Haugen, while Jeremy Allen White portrays Horwitz. Their characters bring the story’s attention to the people challenging the institution, rather than solely to the man who built it.

That change gives the premise its tension. An employee has information she believes the public should see. A reporter must investigate it. Across from them stands a company with the resources to defend itself.

A pointed screening location

The film’s first public preview also carried a striking connection to its predecessor.

The San Francisco Chronicle reported that Sorkin presented The Social Reckoning at the Cinemark Century Mountain View 16 on September 16, less than 10 miles from Meta’s headquarters. Current and former Facebook employees were among the audience.

It was the same theatre Zuckerberg had booked to watch The Social Network with friends and employees in 2010. The location brought Sorkin’s return to Facebook unusually close to the people and company behind the story.

A drama about the people who speak up

Sorkin both writes and directs the new film. Alongside its central trio, the cast includes Wunmi Mosaku, Betty Gilpin, Billy Magnussen and Bill Burr.

Sony’s synopsis places Haugen and Horwitz at the heart of a risky effort to reveal the social network’s secrets. It is a dramatisation inspired by real events; its characterisations should be understood as the filmmakers’ interpretation.

The premise makes accountability personal: who decides to speak, who listens, and what happens when challenging an employer becomes a public confrontation?

The Social Reckoning is scheduled to open in US theatres on October 9, 2026, according to Sony.