Well, maybe this one will work.

Warner Bros. rolled out a new ad for Digger that is trying yet another approach to market the tough-to-sell Alejandro G. Iñárritu film.

The online ad (below) shows a series of glowing quotes from critics from various countries and contrasts them with negative reviews from U.S. critics. The sort-of implication: The rest of the world loves this movie — it’s just dumb Americans who fail to appreciate its genius.

At the start of the ad, Tom Cruise as Digger Rockwell says, “America has stood beside the world in its darkest of hours,” to which Riz Ahmed’s character shoots back, “Not anymore.”

Then comes the succession of critic quotes alongside a flag representing the critic’s country. The first is from a Mexican YouTuber who called the film “Epic, Extraordinary and Biting,” followed by a Playlist quote, along with an American flag, which called the film “Grotesque, Deliberately Tacky.” Later there’s a French critic who calls Digger “A Gem of Intelligence” followed by The New York Post calling it “An Unintentionally Bad Movie.” The ad concludes with Cruise’s character declaring, “You decide which!”

Digger is expected to gross only around $8 million at the domestic weekend box office, which is even lower than the studio’s meager $12-$15 million prediction, and certainly leagues lower than the film’s $125 million projected budget.

Is it actually true, however, that the international press likes Digger more than the American press? There may be a little truth to this. While Rotten Tomatoes has the film at 50 percent positive, French aggregation site AlloCiné currently gives the film an average press rating of 3.2 out of 5 across 30 reviews. The two metrics aren’t directly comparable, but the French score suggests a somewhat warmer critical reception. Several top critics in Britain and Australia were notably warm towards the film, though both countries, certainly, had dissenters as well.

The film’s CinemaScore in the U.S. — polled from moviegoers exiting the film on Friday — was a rather brutal C+.

Cruise took to social media on Saturday to express his pride and support of the film, writing, “Digger is officially in theaters and I am so honored to have had the opportunity to create this film alongside such talented artists. Thank you to the entire cast and crew for your dedication, hard work and joy. The experience was truly unforgettable and I’m so proud of what we created.”

“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.

Magnolia acquired “The History of Concrete” out of the Sundance Film Festival, where it attracted a great deal of coverage for its creator, John Wilson, the star of the cult favorite HBO series “How To with John Wilson.” The film examines urbanism and architecture and lives up to its title by chronicling the history of concrete in an absurdist fashion (Wilson tries to make the film in the style of a Hallmark movie).

“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.” This weekend, Magnolia saw strong numbers for the film in many markets, including a $47,510 week 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.

“The History of Concrete” has yet to match the grosses of other documentaries this year that debuted on many more screens. “Melania,” Brett Ratner’s penetrating exploration of the life of First Lady Melania Trump, packed in the MAGA faithful to the tune of $16.7 million. That would be a strong result had Amazon MGM Studios not shelled out $40 million to buy the film and tens of millions more to market it. The suspiciously large price tag suggested Jeff Bezos might have had more on his mind than just a love of nonfiction moviemaking. President Donald Trump later reported that he and his wife made $10.71 million in licensing fees from the deal. America, right?

Neon also scored with “EPiC: Elvis Presley in Concert,” which opened across 325 Imax theaters (not as a platform roll-out like “The History of Concrete”) and ultimately earned $23.5 million globally and $13.6 million domestically. In its second weekend, “EPiC” was playing in 1,963 theaters. “Melania” opened across 1,778 screens.

In terms of documentaries that were rolled out in a platform fashion instead of going wide first, Kino Lorber’s “Mary Oliver: Saved by the Beauty of the World” earned $773,430, the independently released “Steal This Story, Please!” netted $750,077, and Watermelon Pictures’ “American Doctor” earned $470,159.

The success of “The History of Concrete” is good news for Magnolia, which also had a surprise hit last summer with John Early’s directorial debut, “Maddie’s Secret.”