'Project Hail Mary' review: Ryan Gosling rocks out in Christopher Miller & Phil Lord's sci-fi adventure
- S.J.
- Apr 5
- 5 min read
Do you believe in miracles, perchance? Or do you believe in the power of Project Hail Mary instead? Adapted from Andy Weir's novel of the same name, the sci-fi adventure certainly wants you to. Ryan Gosling stars as Ryland Grace, a very real name, who wakes up all alone on a spacecraft with some signs of amnesia. Ryland's memories return in waves, reminding him and telling us that he was just a regular ol' science teacher on Earth. He was also recruited by Eva Stratt (Sandra Hüller), an elusive higher-up overseeing an international scientific collaboration, to study a matter that is causing the Sun to die out. Ryland clearly did something right back then seeing how he's on this suicidal mission and on his way to a star that hasn't been affected by said matter. This star, called Tau Ceti, could offer answers, which will save Earth from extinction. On his travels, Ryland comes across an alien being whom he befriends.
The film's own mission to become a really well-crafted, finely performed and entertaining popcorn blockbuster is a major success. It ticks a lot of boxes along the way, and it certainly embraces its influences with open arms, but not in an annoying way. After all, you are allowed to make a shameless, feel-good spectacle made out of mostly recycled material as long as you do it with enough sincerity and a lot of skill. Directors Christopher Miller and Phil Lord also know this based on what we see here. They and their collaborators balance tragedy and comedy with ease, plus everyone clearly tried to bring their A-game to the party.
Firstly, "PHM" is just incredibly stunning to look at and there aren't any real flaws to be found. Hence you're happy to spend time on the spacecraft and in these different spaces. Secondly, the characters—especially Ryland, Ava and Rocky—are either consistently amusing or layered. Hence you're happy to spend time with them and follow their journeys. Time flies by when you're enjoying yourself.
The seamless blend of stellar VFX and Charles Wood's detailed production design works wonders. Completing the holy trinity is the practical effects work, which helps to bring to life the aforementioned alien, named Rocky, who's controlled and voiced by James Ortiz in excellent fashion. You can feel the love put into this character and so it is very easy to reciprocate those feelings as a viewer.
Cinematographer Greig Fraser captures these environments and characters marvellously, particularly when it comes to lighting and trusting the acting on display. If only I had seen the images as probably intended*. Anyhow, the visuals are rather dazzling. Even the costume design (by David Crossman and Glyn Dillon) and sound would be deserving of shoutouts, thanks to some fun shirts and effective dramatic moments accomplished with terrific mixing. Composer Daniel Pemberton's score is definitely adventurous, busy and huge in a way that its effectiveness depends on one's taste. For yours truly, it was a bit too present and overwhelming, but the arrangements themselves did often mesh with the life-or-death stakes so job well done, I guess.
I have not read the source material admittedly, but in terms of screenwriter Drew Goddard's adaptation, the script does its job even though there's not all that much substance. This means that the humour is never uninspired and sometimes it even gets a chuckle out of you, and the storytelling does fill your heart with hope despite the fact that hope is essentially the only theme Goddard is working with here. The large amount of science babble places trust on the audience as well, which is a good thing, but otherwise playing everything so safe could hurt the film's longevity. I haven't exactly found myself thinking about the story or the themes after exiting the theatre. Everything works great in the moment, but digging for gold afterwards could be a waste of time and it might make you judge the movie more harshly.
This lack of depth becomes slightly worrisome during the second half when there are bigger emotional swings and every little thing seems to resolve fairly easily. At 145 minutes or so before credits, the movie stretches beyond its own limits a few too many times. Your investment in the characters falters because you're not properly concerned for their fates. A smarter adaptation might've provoked audiences more. Alas, what we get is smart enough.
Directors Christopher Miller and Phil Lord do one hell of a job considering what they're actually given to direct. As discussed, the filmmaking is oftentimes off the charts, but the first major hurdle the duo clears is by making sure that the flashbacks taking place on Earth do not make us wish for a fast-forward button. The human drama, from Ryland's tests to his and Ava's interactions, is both additive and meaningful, and it's just as watchable as Ryland and Rocky's shared adventure. Hüller specifically keeps every scene very active because she makes odd yet interesting choices constantly, and you're never fully sure of what her character is up to at any given time. Plus, she crushes a remarkable karaoke scene that you will remember.
But Hüller isn't the only actor lighting up the screen, just like Rocky isn't the film's only practical superpower. Gosling is really the engine that keeps the machine running here. Not only does he manage the tonal shifts from delightful physical comedy to emotionally devastating revelations with real deftness, but he's also doing your classic movie star performance that requires a performer to lock in and unleash all of their charisma. Gosling is funny, earnest and vulnerable in the part, and he translates Ryland's doubts, fears and compassion expertly. It's a magnetic sight to behold.
That goes for the blockbuster in question, too. You just have to believe in it.
Smileys: Ryan Gosling, VFX, direction
Frowneys: None
Well, this is going to be one bumpy ride so you might as well fist it.
[*Note: There was sadly a distracting issue with projection at my screening since there was quite a bit of empty space both at the the top and the bottom of the screen during scenes that featured the taller aspect ratio. I'd like to see the movie again in a way that allows me to give my undivided attention to the story that's being told as I was admittedly taken out of it every time the aspect ratio changed.]
4.0/5
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