Here are Cinephile Corner’s 10 recommendations for movies like Digger:
A House of Dynamite
If what you want is impeccably mounted doomsday procedure, this delivers on a scene-to-scene level. If you want a political thriller that actually lands a blow, it taps out when it matters most. A House of Dynamite proves Bigelow still knows exactly how to build pressure, then chooses to vent it into thin air.
Kontinental ’25
Radu Jude is an iconoclast and an internet troll, often at the same time. His filmography is certainly unique, and his sense of humor is so dark and so specifically his own that naming him alongside Romania’s other great auteurs, Cristi Puiu, or two-time Palme d’Or winner Cristian Mungiu, feels almost categorically wrong. Those are somber, meticulous, realist filmmakers. Jude is something else entirely, more formally adventurous and more deliberately abrasive than nearly anyone working in international cinema right now. Which is what makes Kontinental ’25 such a surprising and genuinely moving experience. At least to me, he’s found the sweet spot.
Eddington
Ari Aster’s Eddington is a jagged political mirror—scattershot with ideas, audacious in tone—and somehow plays like a slow-burn powder-keg farce that detonates exactly when it means to. Premiering at the Cannes Film Festival to chilly early notices, the film was quickly read as opportunistic, a movie “profiting” off COVID lockdowns and the George Floyd protests rather than meaningfully engaging with them. But taken on its own terms, Eddington is a bracingly self-reflective work: an American fever dream about paranoia, doomscrolling, and the grifters who materialize when anxiety becomes a commodity.
No Other Choice
No Other Choice finds Park Chan-wook in a sharper comedic register than usual, a black comedy that keeps tipping toward farce while tracking a middle class collapse. I like the switch of gears. I also felt the hype machine pull a little harder than the movie earns. It is lively, cleverly staged, and often very funny, yet it lands as a thoughtful middle entry for Park rather than a top tier picture beside The Handmaiden, Oldboy or Decision to Leave.
The Grand Budapest Hotel
The Grand Budapest Hotel stands as one of the most ambitious and widely celebrated films in Wes Anderson’s career—a visual symphony of symmetry, color, and control. It marked a turning point for Anderson, both critically and stylistically, encapsulating nearly two decades of his evolving artistry into one meticulously crafted package. While it’s easy to see why The Grand Budapest Hotel has been called the quintessential Wes Anderson movie, there’s something about its ornate façade and heavily curated design that, for some viewers, keeps it just out of emotional reach.
The Favourite
The Favourite sees director Yorgos Lanthimos recontextualizing 18th-century British royalty. A searing dark comedy featuring many of 2018s’s best performances, including Olivia Colman, Emma Stone, and Rachel Weisz.
Mickey 17
Following up Parasite was never going to be easy for Bong Joon-ho. The 2019 film was a global phenomenon, breaking language barriers at the Academy Awards and cementing Bong as one of the most exciting directors of his generation. With Mickey 17, his first film since that historic win, he dives headfirst into sci-fi, adapting Edward Ashton’s 2022 novel Mickey7 with an all-star cast that includes Robert Pattinson, Naomi Ackie, Steven Yeun, Mark Ruffalo, and Toni Collette.
Triangle of Sadness
Although it’s visually pleasing and pretty refreshing at its peak moments, Triangle of Sadness doesn’t come together as tight as it should. For many filmmakers, winning a Palme d’Or would be a reason to stay the course for the foreseeable future, but Ruben Östlund keeps audiences guessing. He didn’t hit a home run here, but I can surely admire the effort and vision that he is trying to complete. It probably won’t compete for many awards this upcoming season, but I imagine Östlund will be back for a vengeance.
Mayday
In one of the more stunning turn of events in 2026, I had a great time with Mayday. A Ryan Reynolds-led straight-to-streaming action movie on Apple TV+ is basically the opposite of a sales pitch for me, with every element of that sentence somehow getting worse the more I think about it. The only thing less noteworthy than Reynolds’ output this side of Mississippi Grind (absent Deadpool) has been the track record of straight-to-streaming action movies, and Apple TV+’s action slate in particular.
The Menu
A mixed bag of ideas and food for thought, Mark Mylod‘s The Menu still excels with winking characters and great visual design. The movie struggles to establish much beyond its own genre beats, but that doesn’t take much away from the crowd-pleasing journey the film goes on.
READ MORE: Movies Like Mickey 17, Movies Like A House of Dynamite
