Project Hail Mary is the kind of ambitious science-fiction blockbuster that remembers something many movies in the genre forget: saving the world can be thrilling, emotional, and genuinely funny at the same time. Directed by Phil Lord and Christopher Miller and adapted by Drew Goddard from Andy Weir’s beloved novel, the film blends hard science with crowd-pleasing humor and heart. Anchored by a charming and endlessly watchable performance from Ryan Gosling, the result is a thrilling space adventure that feels like a mix of Interstellar and Arrival, but with a much lighter and more playful sensibility.
The film opens with a terrific hook. Ryland Grace (Gosling) awakens alone aboard a spacecraft, completely disoriented and with no memory of who he is or why he’s there. Sporting a massive beard and barely able to control his limbs, his first moments are a chaotic mix of panic and physical comedy. Gosling’s scream upon realizing he’s floating in space is hilarious, and the actor leans fully into the absurdity of the situation. While Gosling has proven his dramatic chops many times over, this performance is another reminder of just how funny he can be, something audiences saw in films like Crazy, Stupid, Love., The Nice Guys, and Barbie. Here, he manages to make even scientific jargon entertaining through sheer comedic timing and expressive reactions.
As Grace slowly pieces together his memories, he deduces that he is the sole surviving member of a mission sent to the Tau Ceti system to save Earth. The sun is dying, crops are failing, and humanity faces imminent starvation. Grace is humanity’s last hope. Yet despite the massive stakes, Project Hail Mary never becomes overly dour or self-serious. Lord and Miller bring the same playful sensibilities that made their work on 21 Jump Street and 22 Jump Street so entertaining. Even in the middle of intense scientific problem-solving, the film finds room for clever comedic touches.
One of the film’s running gags involves the use of music. Songs will begin swelling dramatically only to be cut off abruptly for comedic effect. It’s a simple trick, but it works almost every time. There’s also an early flashback scene involving two characters shopping that is directed with so much enthusiasm that it radiates pure joy. Lord and Miller seem fascinated by the idea that wonder can exist in something as little as Skittles.
Part of what makes Grace such an engaging protagonist is that he isn’t the typical genius astronaut archetype. Before becoming involved in the mission, he was a middle school science teacher. That background grounds the character and makes him feel like an everyman, even though he’s clearly brilliant. When he explains complicated scientific ideas, he does so in a way that feels natural for someone used to teaching kids. The film’s heavy science jargon becomes accessible and even fun because it’s filtered through his personality.
The movie’s first act does an excellent job setting up the stakes and revealing why Grace is in space. The narrative structure is largely nonlinear, cutting back and forth between Grace’s lonely journey aboard the spacecraft and flashbacks showing how the Hail Mary mission came together. Those scenes introduce Eva Stratt, the tough and determined leader of the mission, played by Sandra Hüller. Stratt is a fascinating figure, someone willing to make morally complicated decisions for the sake of humanity’s survival.
One particularly memorable moment features Stratt performing a karaoke rendition of Sign of the Times by Harry Styles. It’s an unexpectedly emotional scene that captures both the stress of the mission and the strange camaraderie that develops among those involved.
Visually, the film is stunning. Cinematographer Greig Fraser, known for his work on films like Dune and The Batman, gives the spacecraft interiors and alien environments a sense of scale and beauty. The emptiness of space is rendered with breathtaking detail, while the spacecraft itself feels tactile and lived-in.
The film’s second act slows down somewhat, but it remains engaging thanks to the introduction of its most delightful element: an alien Grace names Rocky. Like Grace, Rocky is the sole survivor of a mission. Watching Grace attempt to communicate with Rocky becomes one of the movie’s greatest pleasures. Their interactions are often adorable, funny, and surprisingly moving.
What begins as cautious curiosity evolves into a genuine friendship. Both characters are alone, far from home, and burdened with the responsibility of saving their respective civilizations. That shared experience creates a bond that feels authentic and deeply touching. Gosling carries much of the film on his shoulders, especially since he spends large stretches as the only human character on screen, but Rocky’s presence gives him someone to play off of. Their scenes together are easily the heart of the movie.
Emotionally, Project Hail Mary occasionally struggles to reach the same heights as Interstellar. Part of the reason is that Grace doesn’t have much waiting for him back on Earth. Matthew McConaughey’s character in Interstellar is defined by the painful sacrifice of leaving his children behind, which gives that film enormous emotional weight. Grace, by contrast, doesn’t have close family connections. There’s mention of a former lover who has moved on with someone else, but we never see this person, which slightly limits the emotional impact.
The film’s structure also creates a few minor narrative hiccups. Because the story jumps between timelines, certain revelations arrive later than they probably should. The scene in which Grace is asked to join the mission, for example, appears near the end of the film even though we already know he’s on a one-way journey. It’s an odd placement that slightly disrupts the narrative momentum.
Still, these issues are relatively minor in the grand scheme of things. What ultimately carries Project Hail Mary is its spirit. The movie is filled with humor, optimism, and a genuine sense of wonder about science and discovery. It’s rare to see a blockbuster that embraces both intellect and entertainment so enthusiastically.
By the time the credits roll, the film leaves audiences with a warm sense of hope. At its core, Project Hail Mary is about cooperation, curiosity, and the idea that friendship can transcend even the vast emptiness of space. It’s an immensely entertaining ride and the kind of big, crowd-pleasing science fiction spectacle that audiences don’t get nearly enough of anymore. Gosling is terrific, the filmmaking is confident, and the story delivers both laughs and emotional beats in equal measure.
SCORE: 8/10
As ComingSoon’s review policy explains, a score of 8 equates to “Great.” While there are a few minor issues, this score means that the art succeeds at its goal and leaves a memorable impact.
Disclosure: ComingSoon attended a press screening for our Project Hail Mary review.
