Rating: 3.5 stars
Directed by Phil Lord and Christopher Miller
Starring Ryan Gosling, Sandra Hüller, James Ortiz
Rated PG-13
Release Date: March 20, 2026
In a post-Marvel media landscape, “Project Hail Mary” is the perfect concoction of escapism and nostalgia to please the crowds. Adapted from the 2021 novel by UC San Diego alumnus Andy Weir — the same great mind that produced “The Martian” and its thrilling yet down-to-earth film adaptation — the film launches for the endearing ideals of a one-man-saves-all saga.
Lead actor and producer Ryan Gosling meant business in his recent New York movie appearance to promote the film. Molecular biologist Ryland Grace’s (Ryan Gosling) plight is compelling: The sun is dimming, and he must investigate what exactly is going on. The Earth’s potential collapse is a frightening concept, and one that feels terrifyingly possible in our real world, despite the fictitious setting. While the film soars to great visual and comedic heights with an ever-charismatic Gosling at the helm, “Project Hail Mary” falters in challenging human-centric science fiction narratives, particularly in its portrayal of human-alien relationships.
If you’re looking for an epic visual spectacle, “Project Hail Mary” is certainly the movie to catch in theaters this Hollywood season. Cinematographer Greig Fraser, known for his adjacent work on Denis Villeneuve’s “Dune” franchise, is the clear winner of this film. Disorienting camera angles mirror Grace’s internal state of disarray and contrast with magnificent shots of nothingness that emphasize the insignificance of his struggle.
Just as central to the viewing experience is the film’s expert use of music. The score — composed by Daniel Pemberton of “Spider-Man: Into the Spider-Verse” fame — creates a grand and celestial atmosphere, with choral segments and body percussion utilized to great effect. These moments anchor viewers in the fantastical setting, layering the breathtaking visuals to elicit audience awe.
Much akin to Weir’s previous film-adapted work, “The Martian,” music is an integral part of the main character’s journey, used by the narrative to flesh out Grace’s personality in this confined setting. Grace names his space probes John, Paul, Ringo, and George, while “Two of Us” by The Beatles soundtracks the end of the film. Both are subtle ways of shouting out Grace’s love for the Fab Four and, equally, humanizing him beyond his mission.
Gosling is effortlessly magnetic as Grace, carrying the easy charm and impeccable comedic timing we’ve all grown accustomed to in Gosling’s repertoire. He makes Grace stand out from others in the “guy talking to himself” film genre, allowing the audience to connect with each step of his journey from begrudgingly joining the Hail Mary mission to learning how to adapt to his situation. Every joke that comes out of his mouth offers levity, and his emotional beats feel realistic and well-earned.
But Grace isn’t just talking to himself — he’s talking to Rocky the alien, Grace’s “foil” in the film. Rocky is funny and adorable, marketable to every demographic, and immediately lovable without feeling overly cloying — exactly the type of character that generates audible laughs in the theater while simultaneously getting you to root for their success. His desire to understand human customs is humorous and emotionally poignant. Rocky and Grace’s dynamic allows “Project Hail Mary” to be classified almost as a buddy comedy — a type of movie involving two guys with contrasting personalities on a mission where wacky hijinks ensue — at its core.
Yet, it is this friendship dynamic that quickly reveals the film’s limitations as a science fiction story: For all of his charm, Rocky remains a beloved sidekick and nothing more. As the story progresses, Rocky moves into the Hail Mary to research and plan expeditions with Grace, wide-eyed and playfully oblivious to the human technology around him. Grace describes Rocky to the camera as “a genius, but he’s dumb about a lot of things.”
Where Rocky is simple minded, Grace is overflowing with knowledge and a “superior,” distinctly human kind of wisdom. In their differences, they complement each other — at least, that’s what the film would have you think. Grace never deigns the same enthusiasm or curiosity toward Rocky’s world, culture, and life that he receives and readily indulges from Rocky, and this lack of background on the alien is a curious departure from the novel.
In an attempt to subvert the cold, hostile alien paradigm, “Project Hail Mary” merely substitutes one impressionable space monkey for another, albeit a warm and friendly one. If anything, Rocky’s more interesting quirks are filtered through human-centric sci-fi tropes, limiting any potential audience intrigue and unease about his character. For example, his verbal language is converted to stilted English and translated through a bland human voice machine, simultaneously dumbing down and endearing his personality, depending on who you ask.
As intriguing as the story’s premise may be, its end is not. Fakeout ending after fakeout ending abounds, detracting from the pacing and prompting questions about when the film’s true thematic takeaway is supposed to occur. By the conclusion, it feels long overdue, as Grace has learned his lesson about selflessness numerous times already.
Despite its missteps, “Project Hail Mary” is a burst of pure fun, refreshing in a time of much uncertainty. While it isn’t anything revolutionary in the realm of sci-fi, its sheer visual spectacle and humorous script make it an escape from reality worth a watch in theaters.
