Project Hail Mary is a 156-minute reminder of just how glorious movies can still be.
The new smash-hit is based on Andy Weir’s 2021 novel, which instantly went on my list of all-time favorite sci-fi books. Somewhat surprisingly, I liked the film even more.
The story of a desperate, long-distance space-mission to save the earth from disaster, Weir’s novel is loaded with physics, math and other high-tech gobbledygook that turned off some readers.
Happily, the movie rockets past nearly all of this, instead highlighting the humor, the suspense and the heroism. It’s warmer, funnier and more human — though for folks who know the story, that last adjective will seem ill-chosen.
Suffice it to say, it’s the first time I ever cried over a rock. And the second.
Yes, I’m being deliberately cryptic. You see, the great strength of Weir’s tale is its propulsive plot, which just keeps unfurling one surprise after another. Sadly, the movie’s trailers spoil nearly all of this — so avoid them if you can.
I will say only that this film has the audacity to end the same way the book did — and it’s truly grand. Indeed, a Facebook friend commented that he found the finale predictable; but if you get to the last 15 minutes and you’re able to guess where it’s going … I sure would like to know about it.
*Sigh*
I suppose I should stop gushing and give some details — starting with Ryan Gosling’s work as Ryland Grace; he’s a middle-school-teacher-turned-astronaut who is virtually the only person on screen for much of this film. The actor’s patented blend of humility, authenticity and quiet courage is simply perfect for this role.
As the film keeps flashing back from the spaceship to previous events on earth, PHM also features terrific editing; despite a two-and-a half-hour run-time, it never feels slow or unwieldy. Daniel Pemberton’s wide-ranging score is similarly effective.
Kudos also to the directing team of Phil Lord and Christopher Miller, who worked together on The Lego Movie and the Spider-Verse franchise. PHM screenwriter Drew Goddard had earlier adapted the boffo film version of Weir’s The Martian.
The special effects are out of this world — if you’ll pardon that pun — with a seamless blend of CGI and practical effects, especially in the zero-G scenes.
PHM’s soundtrack is carefully arranged to reflect the plot, with — among other things — references to Stallone’s Rocky and John Williams’ five-note theme from Close Encounters. And the final credits run over Tina Turner singing “Glory, Glory.” That in turn points to the film’s low-key religious theme, also apparent in Ryland’s last name … and, perhaps relatedly, the title.
Along those lines, I’m pleased to report that the film is quite family-friendly. I can’t recall a single swear-word — and there’s no nudity, sex or gore (though the scene of Ryland coming out of space-sleep is a little gross).
As I write, PHM has raked in a whopping $140 million in its first weekend, marking a record for Amazon films (remember, that company now owns MGM). It’s the biggest money-maker of the year so far. Better yet, with an upcoming slate including Spielberg, Nolan, the Mandalorian and Toy Story 5, 2026 is looking more and more like the year that will prove the ongoing viability of theatrical movies.
Amaze amaze amaze.
