A scientist on a spaceship far from Earth has to find out why an organism is eating our Sun in the engaging, thrilling, and hilarious Project Hail Mary, directed by Phil Lord & Christopher Miller, based on Andy Weir’s novel.
The short of it: Project Hail Mary, Phil Lord & Christopher Miller’s adaptation of Andy Weir’s novel, works magnificently. An astounding triumph in every way: technically, emotionally, and cinematically. The script from Drew Goddard transforms the text into joy: thrilling in science problem-solving, connecting and caring for the characters, and stuffed with perfectly matched deadpan humor. It’s a gorgeous space epic. Hell, I cried, man.
Over ten years ago, Ridley Scott adapted Weir’s first book, 2011’s The Martian, to great acclaim. In adapting, also written by Cabin in the Woods’ Goddard, the story of Mark Whatney, a scientist stranded on Mars with little to help, making an escape room sort of story with hard, but easy to follow, science was incredibly thrilling. I literally finished the book the day I saw the film and was still on the edge of my seat. In the meantime, Weir wrote two more books: Artemis, using science to unravel a conspiracy on a colonized Moon (it’s pretty good). In 2021, Project Hail Mary continued Weir’s trend of thrilling and accessible speculative fiction, now with larger mission stakes and questions, but just as much peppy, fun, and funny writing. Now, directors of The Lego Movie and 21 Jump Street, Lord & Miller, craft their epic, heartfelt film of Project Hail Mary.
Dr. Ryland Grace, played by a fully committed Ryan Gosling, wakes up on the titular spaceship, alone with a dead crew, eleven light-years from home, with little memory of who he is, what he’s there for, and unsure where to start on all sorts of problems to solve. Like Watney, he has to “science the shit out of this,” but embiggened. With more unknowns, he has to make bigger chances, solve stranger problems, and simply figure out what the hell is going on. Weaving the story with flashbacks to how he got here and why, moving forward with science on both ends. Some earthbound back-and-forth with security guard Carl, played by Lionel Boyce, is a highlight. It moves with incredible speed (editing by Joel Nabron) as Gosling in the sky, and the same, plus other scientists, try to figure out why something called “astrophage” or “sun dots” is dimming the sun.
It’s a claim to strong writing and directing to make solving science logic problems thrilling and fun. Sure, we might gasp and sit on the edge of our seats on a perilous space walk, but just as much in a problem is presented and solved in ingenious and twisting ways. But ways that make sense and keep you constantly engaged. The mission is dire, the stakes are high, yet it is filled with a certain something. Project Hail Mary isn’t a space disaster movie, even with the expected setbacks, but hopeful speculative fiction, one with a positive bend. Goddard sells the science in the script at just the right level, along with some of the best, naturally flowing expository methods. There’s no handwaving, easy solves, but also not so dense that the audience gets lost. We’re right there with the fun, enjoying the process without being talked down to or walled off. It’s accessible, and that goes a long way.
It helps that Gosling, in a series of wonderfully punny t-shirts, is incredibly watchable. He and the handful of other characters, played by Ken Lueng, Milana Vayntrub, and especially Anatomy of a Fall’s Sandra Huller, are extraordinarily likable and charismatic to watch interact. There’s a loving charm about it, matched with a wicked sense of humor. This humor, dry and deadpan, never stops leading to great guffaws, but it’s woven in naturally within the situations. This isn’t a quip-a-rama, but the consequence of Weir and Goddard writing Grace as a naturally funny guy and Gosling playing it perfectly. Of course, it helps with Miller & Lord at the helm. They are known for their comedies, but their work stands out by taking ideas that could be simple and crass, like The Lego Movie and 21 Jump Street, and running bigger and larger, clever and reflecting on genre conventions and expanding them, enlivening the audience to accept the shifts and revel in self-aware storytelling. But within the humor, it’s emotional, heartfelt, and honest; I teared up on several occasions.
Miller & Lord cut no corners in the creation of a space-epic. Project Hail Mary is a massive technical achievement. Much has been said about zero green screens being used. That’s not to say there aren’t visual effects. There are, and they are astounding, large, and awe-inspiring. Seeing it on the IMAX was akin to watching a great space documentary. But it’s as practical as they could be. Massive sets, working ships, and science-filled sets (so many blinking lights and switches) are shot beautifully by Greig Fraser. All is woven together with Daniel Pemberton’s fantastic and ethereal score.
Okay, I’m going to pause here, towards the end of the whole write-up, for your chance to take my praise and move along if not wanting to have certain details given. I don’t spoil, no sir, but there’s a wonderful shift about 45 minutes in (of the 156, so not deep into the film relatively) that turns Project Hail Mary from The Martian But More to a different take. This aspect is all over the marketing, but if you’re going in cold, like I try to do (in this case, I read the book, and it was a great reveal). Come back on the other side of the photo if you’re willing to get a little more detail. I won’t spoil how things work, so if you know the next push, the overall film won’t be given to you.
Still here? Alright! At this point, Grace finds another ship with its own lonely alien resident. Well, Rocky rocks! As compelling as Gosling’s Grace is at being a new Mark Watney (let’s admit, Weir writes them about the same, I’d be willing to bet as an author insert in style. But that’s fine, we like him!) 2.0, he’s even better working with Rocky, an alien from the planet Elin who has the same mission as Grace. I have not cared this much about an alien since E.T. Speaking of Spielberg, there’s a great nod at a different alien movie, which garnered big laughs. Performed mostly by puppetry, Lord & Miller direct such a creature, one without discernible facial features, looking like a rock with legs, into a magnificent character. Rocky gives the movie its soul. Watching Grace and Rocky work together, find their connections in culture, learn to communicate, and then work together in their different ways is a pure treat. Rocky is voiced by his lead puppeteer, James Ortiz, continuing that deadpan humor, endearing Rocky. He’s wholly different than most other aliens on film, with a musical form of communication and a decidedly non-human method of design. Outside of the Arrival, we’ve not seen aliens this… well… alien.
Project Hail Mary succeeds in its long play with ease. A fantastic, and often sole, performance by Ryan Gosling sends the audience on a science puzzle ride with an amazing technical scope, quick wit, and humor. Massive and awe-inspiring, but anchored, Phil Lord & Christopher Miller score another touchdown of an impressive picture.
Amaze! Amaze! Amaze!