“Project Hail Mary” — a new science-fiction blockbuster based on Andy Weir’s best-selling novel — was released Friday to critical acclaim. The film threads a delicate balance between the expansive scale of its outer space setting and the contained character relationships central to the plot, creating an immersive viewing experience.
Ryan Gosling plays Ryland Grace, a middle-school science teacher who wakes up on a ship in space with no memory of how he got there or who he is. As Grace slowly regains his memory, he realizes that he was sent up to space for a reason — to discover how to stop the mysterious substance slowly eating the sun and save humanity. With the help of an alien ally — a creature who eventually becomes a friend and scientific collaborator — Grace uses scientific reasoning and pure survival skills to try to save Earth and get back home. The dynamic between Grace and the alien — a rock-like extraterrestrial whom Grace names Rocky — is the lifeblood of the film, and their genuine care for each other turns a traditional space movie into an uplifting tearjerker.
The film sees Ryan Gosling donning an astronaut suit once again, recalling images of his starring role as a young Neil Armstrong in Damien Chazelle’s 2018 biographical drama “First Man.” Almost ten years later, the trajectory of Gosling’s filmography has evolved as much as his characters and pop-culture persona have. In “Project Hail Mary,” a much sillier performance takes center-stage over a tense character-driven one. The film never lets the high stakes feel particularly pressing, primarily due to the constant jokes and quips from Gosling’s Grace.
The film is directed by the dynamic duo of Phil Lord and Christopher Miller, who are responsible for movies such as “Cloudy With a Chance of Meatballs,” “The Lego Movie” and “21 Jump Street.” Considering the duo’s filmography, it is no surprise that “Project Hail Mary” is a heavily comedic film. With a very small cast, Gosling is both the primary comedic force as well as the heart of the film. He delivers a measured performance full of charisma and silliness, as well as real emotional depth. Sandra Hüller’s serious, no-nonsense character, Eva Stratt, provides a perfect contrast to Gosling’s quippy portrayal. In “Project Hail Mary,” the directing duo leans into their signature — if sometimes overwrought — comedic style, but ultimately showcases a strong ability to balance hilarity and heart with innovative visual elements.
“Project Hail Mary” truly shines in its production elements. From “2001: A Space Odyssey" to “Interstellar,” films set in space typically deliver on a higher visual standard than the average blockbuster, and “Project Hail Mary” is no exception. Through the transcendent space visuals, the movie takes the audience on an interstellar journey second only to NASA. Primarily relying on practical effects — such as building the entire ship set and using an alien puppet rather than post-production CGI — makes the insanely detailed set pieces all the more impressive.
Greig Fraser — who won the Academy Award for Best Cinematography in 2022 for Denis Villeneuve's “Dune” — worked as the cinematographer for "Project Hail Mary.” As is true for his work on other films, Fraser’s ability to work with scope is a highlight of the film’s visuals. Fraser turns wide, oppressive spaces into atmospheric, intimate images here, portraying space as both infinitely terrifying and incomprehensibly beautiful. The use of colors is also notable, with scenes utilizing singular colors in fresh and evocative ways. One of the most stunning scenes is a visual shot entirely composed of pink particles against a dark backdrop, but the intricacies of the shot and lovely coloring makes a jaw-droppingly gorgeous image.
The sound design is another technical element in which “Project Hail Mary” soars. The sonically intense scenes in space are paralleled by simpler scenes set on Earth, including when Hüller’s character sings karaoke and reveals a more vulnerable side, which turns out to be one of the film’s most deeply touching moments. The loud moments hit with full force, but the film also likes to subvert expectations by taking sound away from scenes where it is most expected. Sound designer Erik Aadahl thoughtfully uses audio cues to evoke emotion, taking sound away in some scenes slowly reintroducing it with a siphoned voice or one important sound, such as Grace’s own resounding voice breaking the silence.
These quieter scenes ground the film with a necessary reverence for the importance of Grace’s mission, which is sometimes lost with the constant joking and refusal to take itself seriously. While it makes sense given that Grace uses humor to keep himself sane, the comedy can sometimes feel overdone. The dynamic between Grace and Rocky provides the film with its most emotionally moving moments, however the alien character toes the line between endearing and irritating throughout its screen time, with repetitive dialogue that can wear on spectators.
The film clocks in at two hours and thirty-six minutes, so the sheer amount of alien screen time can feel slightly painful, especially with the film’s fairly simple story, complicated by scattered twists throughout. “Project Hail Mary” sometimes suffers from its bloated runtime. While the fake-outs and twists keep audiences engaged, the multiple conclusions begin to feel a little stale, with the fake-outs reducing the impact of genuine heartfelt moments.
Despite these faults, “Project Hail Mary” is at its core a deeply sweet and hopeful movie. It successfully combines an astounding amount of heart with technical competence, bolstered by great chemistry and a believable bond between the two central characters. With strong emotional beats centering the film, it will be difficult to find a dry eye in the audience when Gosling’s character hugs an alien. Going by an intergalactic rating system, “Project Hail Mary” gets one thumb down.
Read More
U.Va. Drama brings ‘Natasha, Pierre & The Great Comet of 1812’ to the stage
By Delaney Coppola | 1 hours agoFrom Thursday through April 3, the Ruth Caplin Theatre will travel back in time to 19th-century Russia for the debut of the University drama department’s production of “Natasha, Pierre & The Great Comet of 1812.”
The Fralin explores tea making as a form of global connection with teaware exhibition
By Matthew Wang | YesterdayThe Fralin Museum of Art’s latest exhibition highlights the skill, artistry and history behind the making of this common drink.
Hoo’s Watching: The ‘budding actor’ movie
By James Galgano | 2 days agoAlmost every major actor has this “budding performance,” one which began to showcase their talents before the rest of the industry caught on.
