REVIEW: “Project Hail Mary” (2026)

(Source: IMP Awards) 

Since his literary debut with The Martian in 2011, author Andy Weir has written two additional novels, each of them combining science-fiction with science-fact (as well as plausibility amidst their more far-fetched concepts). Likewise, since 2009, filmmaking duo Phil Lord and Christopher Miller (who have dabbled in both live-action comedy and groundbreaking animation) have directed five feature-length movies, their latest being an ambitious adaptation of Weir’s 2021 novel Project Hail Mary. 

Written for the screen by Drew Goddard (who also adapted The Martian for Ridley Scott in 2015), this latest release from Amazon MGM Studios stars Ryan Gosling as science teacher Ryland Grace, who reluctantly goes into space as an astronaut to save the planet Earth from a dying Sun, due to a mysterious line/connection between the latter and the planet Venus. Involving what appear to be organic alien life forms (and X-ray visions), the central space mission proves to be a risky and unsafe one, where several things could go wrong--hence, being considered a long shot (or, a "Hail Mary," in American sports terms). Even when he forms an unlikely friendship with an alien rock (a clever homage to MGM's Rocky franchise), Gosling, once again, showcases his range as an actor. (I forgot he played Lance Armstrong in First Man eight years prior). 

I’ve been seeing many examples of subversive filmmaking and storytelling recently, including KPop Demon Hunters, Marty Supreme, and Hoppers. Lord and Miller take what seems like a conventional premise and infuse it with mystery, wonder, and emotion. (I honestly wasn’t expecting this to be so powerful and profound.) The result is very engaging and evocative. Not to mention striking and gripping, as well as tonally balanced and brilliant (and not just in its score). If I could only describe it in one word, though, it would be "astounding." 

The film is very bold in its visual storytelling. Opening with blue and red neon lights, Project Hail Mary is filled with large scale set pieces and practical effects, including the primary Earth spaceship and the massive alien vessel that comes later, as well as space suits, helmets, hibernation bags/chambers, video journals, and dome screens with captivating, sometimes surreal, visions and memories of earth. (Reportedly, this film was six years in the making.) The filmmakers brilliantly emphasize certain frame rates (including IMAX photography) and distinct/purposeful camera angles, alternating between scenes on Earth and the central mission in space. (I saw it in ScreenX recently, which was incredible.) One of my favorite things about this film is the unique score by Daniel Pemberton (the Spider-Verse franchise), which has a few subtle nods to John Williams' famous five notes from Close Encounters of the Third Kind, and to electronic group M83 ("Hurry Up, We're Dreaming" is one of the best albums ever made, by the way), but overall works on its own.  

This may be the first film of its kind since Interstellar. In fact, some have already been saying Project Hail Mary is better than Nolan’s sci-fi drama from 2014 (which itself has become a cinema favorite in more recent years). Numerous themes range from communication, understanding, and building relationships (via creating a vocabulary), to cycles of life, death, rebirth, and growth, including commemorating those who died, and being there (and fighting) for those still around. As such, the film makes powerful and moving use of Harry Styles’ “Sign of the Times.” (I genuinely welled up during this moment.) 

It's a long journey of discovery, peril, and purpose, into the unknown, full of uncertainty and determination. Excitement and disappointment. Loss and sacrifice (some, unexpected and/or tearful). Be forewarned, there are a few moments depressing bits, but also some very life-affirming elements. Again, I honestly did not expect this movie to get as serious and wondrous as it did. Echoing the balance they helped bring (as producers and creators) to the animated Spider-Verse series, this is Lord and Miller at their most ambitious and mature. Talk about (in many ways) boldly going where no man has gone before.