70
Arizona Republic by Bill Goodykoontz
Simon Stone’s film, about a famous archaeological discovery, has an excellent cast, led by Carey Mulligan, Ralph Fiennes and Lily James, all in top form. It takes place just as England is entering World War II, so there’s that, too. And since this evidently isn’t enough, some romance gets tacked on, as well.
70
The Hollywood Reporter by David Rooney
The storytelling is laced with a gentle thread of melancholy that makes this Netflix feature quite affecting.
90
Screen Daily by Fionnuala Halligan
Australian director Simon Stone’s (The Daughter) film delivers strong performances – from Ralph Fiennes and Carey Mulligan in particular – and top-level craft, but with an undercurrent of real emotion which sensitively conveys the fragility of lives and time. To use another of those abused words, it’s captivating.
67
The A.V. Club by Katie Rife
For all the film’s sweeping, romantic ideas, the actual experience of watching The Dig is a lot like sitting at a bus stop.
88
The Associated Press by Lindsey Bahr
In some ways “The Dig” feels like its own artifact too, like a lost Anthony Minghella film made 30 years ago and buried until now.
88
Washington Post by Michael O'Sullivan
Gradually, and with the methodical patience of someone unearthing buried treasure with a tiny brush, The Dig reveals itself to be a story of love and estrangement, of things lost and longed for, of life and death — of what lasts and what doesn’t.
60
The Guardian by Peter Bradshaw
The Dig is actually not a very earthy film, though there is intelligence and sensitivity and a good deal of English restraint and English charm, thoroughly embodied by the fine leading performers Carey Mulligan and Ralph Fiennes.
70
Variety by Peter Debruge
It’s hard to say whether the period this picture exhumes was any more innocent than what the world now faces, but that’s certainly the way Stone plays it, acting like an urbane orchidologist, cross-breeding contemporary art-house touches with the old-school refinement of a vintage Masterpiece Theatre production. Sometimes the best escape from the craziness of today is to lose oneself in history.
80
The Telegraph by Robbie Collin
The shape of its story is ultimately conventional, and the way in which it’s told can sometimes feel familiar – like a Sunday evening drama smuggling in big ideas. But the line it draws between the earthy and the ethereal stays with you: it’s a well-timed double dose of consolation and escape.
75
Movie Nation by Roger Moore
Mulligan — drawn, wan and yet steely here — and Fiennes’ lightly-laid-on sturdy working class polymath turn make The Dig touching and richly rewarding, as entertaining as any movie about archeology could be without a bullwhip.