Project Hail Mary ★★★★

Released: 19th March 2026

Director: Phil Lord & Christopher Miller

Starring: Ryan Gosling, Sandra Hüller, James Ortiz, Ken Leung, Milana Vayntrub & Lionel Boyce

How does a school teacher end up in space? That is the mystery question underpinning Phil Lord & Christopher Miller’s Project Hail Mary. The teacher in session is Ryland Grace (Ryan Gosling) who awakens from his coma-induced cryosleep with no memory of how he got there or who he is. He comically flops around like Buster Keaton in a silent movie as he regains his cognitive and muscle functions before slowly discovering some grim facts. The crew are deceased, he’s on a spacecraft called Hail Mary, he’s millions of miles away from home (“Neptune-ish” he jokes) and is Earth’s last hope at survival to stop the Sun from dying.

On the surface, you may think it is another isolationist survival story set in space but that wouldn’t do Lord & Miller’s film any justice. The truth is, Project Hail Mary derives from the same madcap energy of Andy Weir, the bestselling author who gave us The Martian (2015) and director Ridley Scott’s best film in years. And as if the stars aligned in perfect formation, Weir’s second book-to-screen adaptation delivers an epic, big-hearted adventure with big emotions, and is genuinely one of the best movies of the year so far.

For those familiar with Weir’s work, the romanticisation of space is clear to see. They’re set in worlds where space travel is revered and not looked down upon. Sure, space is risky and dangerous, there are challenges that test the capability of human exploration, and it certainly possesses an undercurrent of murky and questionable morals where bureaucracy enters the frame (enter Sandra Hüller’s Eva Stratt as the face of that challenge in Mary). But the endeavour to travel beyond the far reaches of our atmosphere represents something to be marvelled at, an understanding and accepted acknowledgement we’re part of a larger universe. It’s “competency porn” (as The Pitt’s Noah Wyle said recently in an NPR interview) but for scientists, watching the smartest, brightest people working together to solve a problem. It’s a feeling made all too aware with the current circumstances of the world right now: wars, personality politics, divisional tribalism and grifter institutions running amok in our media and society, that it’s somewhat refreshing watching people (or in the case of Rocky (voiced by James Ortiz), a rock/spider alien creature called Eridians) who are good at what they do. If there’s a comfort this feeling brings that Weir duly reminds us of, it’s hope, a hope of a better tomorrow.

Drew Goddard’s adapted screenplay explores this acceptance through a series of well-positioned flashbacks between Earth and space. On Earth, Grace is not a hero by choice (more of a reluctant one), but because of his smarts in molecular biology, he buzzes away at science experiments and DIY hacks to replicate the cause of the Sun’s impending death. It’s an infection situated along the Petrova Line – an infrared line between the Sun and Venus. The only way to understand this is to travel to the source where the infection doesn’t seem to be present – a single, interstellar mission to Tau Ceti using a highly volatile organism, Astrophage, which Grace develops as fuel to transport the astronauts. In space, it’s the gradual realisation of the situation, battling isolation, mourning for crew members and the emotional weight he carries knowing he won’t be able to return to Earth. 

The beauty of Project Hail Mary is how it marries up both elements to provide much-needed context and bridge for Grace’s mission. Even if the science flies over one’s head, it’s a patient story willing to let the mystery unfold. However, some reveals from the screenplay can be slightly predictable or in the case of its ending, having one too many within its 2 hour and 36 minute runtime. But like any sci-fi adventure, it’s the journey that matters and what is on display is truly heartfelt.

It feeds into the craft of the production. Taking advantage of that IMAX format, there’s a beautiful dance in which the camera does, gently spinning as if freed from its axis to orbit around the frame, thanks to Greg Fraser’s expert cinematography. Daniel Pemberton’s score also delights, adding scale and wonder with an occasional ‘rock anthem’ bite to it. And there’s an ‘old school’ feel to its production, relying on physical sets that impressively sits in harmony with its visual effects composition.

That sentiment carries through into Lord & Miller’s direction, and to their credit, are perfectly placed to tackle some of Mary‘s wackiest elements. When Grace makes first contact with Rocky, their sharp humour excels. They embrace a Looney Tunes-esque level of comedy as Grace moves the Hail Mary away from Rocky’s ship, only for it to follow the craft like a dog following its owner. Helped by the quiet vastness of space, ensures the joke reaches its comical peak. And there’s no shortage of sci-fi references in this moment, riffing on Close Encounters of the Third Kind and Arrival as Grace and Rocky begin communicating with each other.

But that feeling of hope I mentioned, comes from the shared common goal to eradicate the infection, realising they are all they got to save their respective homes. We’re so used to alien stories where war and destruction are the only language possible, yet Mary provides the sweet remedy. Superseding Tony Stark and Bruce Banner, Grace and Rocky are your new ‘Science Bros’ meme as they exchange knowledge, sing karaoke and bond over Sylvester Stallone’s Rocky. It’s the ultimate ‘two worlds collide’ story, and working together has never been more therapeutic.

It’s a relationship that brings out the best of Gosling, who, between a rock and a hard place, balances comedy and drama and gives Grace his grace. So much of his best moments is confronting Grace’s lack of bravery – he puts the “not” in “astronaut”, as he proclaims. Gosling’s penchant for physical comedy is also acknowledged, giving free lessons on how to avoid a situation! But similar to The Martian, finding humanity is Mary‘s greatest strength, and Gosling rises to the occasion to bring home those pendulum swings of emotions, allowing you to care for his eventual growth. Yet the standout will be Rocky in which the puppetry brings so much warmth, humour and empathy to the screen. Who would have thought you could love and care so much for a faceless creature? This film believed it could, and does so impeccably.

When all wrapped up, Project Hail Mary is a starry-eyed spectacle, the type of film that leaves a grin on your face because of the experience, and a film you crave for long after the credits roll. A cinematic gem indeed. Fist bumps all round.