Project Hail Mary Review: Visual Spectacle Loses Focus in Its Ambition
Rating: 3/5 Suyog Zore
Project Hail Mary, starring Ryan Gosling, has been one of the most anticipated film since its announcement. It is directed by Phil Lord and Christopher Miller and based on Andy Weir's novel of the same name, which Drew Goddard adapted for the screenplay. This is Weir's second adaptation of his novel; his first work Martian was adapted into the 2015 film of the same name, directed by Ridley Scott. I adored Martian, so I was quite excited for Project Hail Mary, especially because I had read the novel. And I must say that the film's visuals exceeded my expectations.
The film looks amazing, and the parts inside the spacecraft really make you feel like you’re in space, traveling in the spaceship. But the screenplay by Drew Goddard falters a few times in telling the story of a guy who wakes up on a spaceship with no idea who he is or how he got there. Ryan Gosling plays Ryland Grace, who wakes up on a spaceship with no memory of who he is, why he’s there or the objective of the mission.
Ryland Grace (Ryan Gosling) wakes on a spaceship with no memories of his identity, why is he on this ship, or the mission's objective. As he searches for answers, he learns that he was not alone on this spaceship; two other scientists with him have died. A flashback reveals that Ryland, a former scientist turned schoolteacher, was selected by government agent Eva Stratt (Sandra Hüller) for a critical mission to investigate Tau Ceti, the nearest undimmed star, situated 11 light years away from Earth. With the impending extinction of the sun and other stars, which will precipitate catastrophic global cooling on Earth within 30 years, Ryland's mission aimed to find Tau Ceti. During his mission of self-discovery, Ryland encounters another spaceship and forms a bond with an alien which he fondly names Rocky. Together, they decide to make a plan to prevent the destruction of their respective planets.
I would argue that this film does not fit neatly into the thriller genre, as the only two scenes that create any real suspense are those in which Grace struggles to survive and save Rocky. A more fitting description would be a friendship drama that explores the complexities of friendship, set against the unique backdrop of a spaceship. The screenplay adopts a deliberate approach to character development, gradually revealing the intricacies of Grace's personality, both in the present and through a series of flashbacks that shows his life before boarding the spaceship. These flashbacks portray Grace as initially timid and uncertain, reluctant to join the space mission. However, they also underscore his deep-seated feelings of loneliness on Earth, where his sole meaningful connection was with Eva Stratt, an introverted and socially awkward scientist. Only once Eva shows her extrovert personna when she sings at a party on the eve of Grace's departure for space.
By contrast, Rocky is complete opposite in every way to Grace and Eva. He is remarkably talkative, sensitive, and emotional. The bond that develops between Grace and Rocky as they try to find a solution to prevent the destruction of their planets was a major surprise for me. The directorial duo, Phil Lord and Christopher Miller, and voice artist James Ortiz, in particular, merit significant credit for making us feel the emotions and genuine concern for a five-legged rock. These sequences skillfully balance lighthearted moments that induce smiles with emotional moments that evoke feelings. The way these two characters initially struggle to communicate and eventually discover a means of communication reminded me of Denis Villeneuve's sci-fi masterpiece Arrival (2016). The film pays homage to numerous cult classic sci-fi thrillers set in spaceships, including 2001 Space Odyssey (1968), Interstellar (2014), and Martian (2015).
However, after a while, the film's emotional manipulation starts to feel monotonous, particularly when it fails to reveal anything substantial about Grace's past except for him being a school teacher turned scientist. The approach to saving their planets is not entirely novel, aside from some unique terminology. Furthermore, the methods Grace employs to reach Tau Ceti with Rocky's assistance follow a tried and tested formula. The film's final act is arguably its weakest point, as it takes forever to reach its climax, thereby diminishing the emotional impact it had hoped to deliver. The musical score, composed by Daniel Pemberton, effectively conveys the emotions of the two beings who form a strong bond. However, it starts to feel overused, to the point where it and its instantly recognizable opening feel unfortunately overplayed, particularly during tense moments.
I have mixed feelings about the conclusion of Project Hail Mary. Although the ending is satisfying, I believe it fails to deliver the intended emotional impact, largely due to its excessive length. In my opinion, an open-ended conclusion would have been more effective in leaving a lasting emotional impression.
Ryan Gosling, as expected, delivers an outstanding performance, particularly in his interactions with a rock. While the film occasionally suffers from stagnant pacing and a touch of wide-eyed whimsy, Gosling's magnetic screen presence remains its redeeming quality, sustaining our interest through his natural charisma. Sandra Hüller also delivers a solid performance as a government agent and scientist who rarely shows emotion.
On the whole, Project Hail Mary is a visual spectacle that starts to get stretched too far and looses focus in its ambition.
Cast: Ryan Gosling, Sandra Hüller, James Ortiz
Writer: Drew Goddard
Directors: Phil Lord, Christopher Miller
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