Project Hail Mary – Film Review
Reviewed by Damien Straker on the 22nd of March 2026
Sony presents a film by Phil Lord and Christopher Miller
Screenplay by Drew Goddard based on ‘Project Hail Mary’ by Andy Weir
Produced by Amy Pascal, Ryan Gosling, Phil Lord, Christopher Miller, Aditya Sood, Rachel O’Connor, and Andy Weir
Starring Ryan Gosling, Sandra Hüller, James Ortiz, and Lionel Boyce
Cinematography Greig Fraser
Edited by Joel Negron
Music by Daniel Pemberton
Rating: M
Running Time: 155 minutes
Release Date: the 19th of March 2026
Images: courtesy of Sony Pictures Publicity
Project Hail Mary is enriched by Ryan Gosling’s lively comic performance and strong craftsmanship from directors Phil Lord and Christopher Miller. Their adaptation of the 2021 sci-fi novel by author Andy Weir (The Martian) strikes a consistent comedic tone and solidifies the film’s unique approach to a cold genre.
For decades, cinema has depicted the horror, uncertainty, and beauty of space. The bleak existentialism of 2001: A Space Odyssey (1968), Alien (1979), and Arrival (2016) dramatised this dark mood. Ridley Scott’s adaptation of The Martian unearthed a lighter galactic tone. Now Lord and Miller, who made 21 Jump Street (2012) and The Lego Movie (2014), have chosen the right actor to embody their own upbeat, comedic style.
The story opens with a dishevelled man (Gosling) awakening on an interstellar spaceship called the Hail Mary. His mind is blank, and the other crewmembers are dead. The story returns to when this mysterious astronaut was a high school teacher named Ryland Grace. This jovial man is confronted by government agents. He tries convincing his overseer, Eva Stratt (Sandra Hüller), that he is no more than a teacher with a bike.
He is questioned about old papers he published as a molecular biologist and told the sun is dying. To understand why, write a politely worded email to screenwriter Drew Goddard: “I hope this finds you well, Mr Goddard”.
Grace must learn what is happening but is reluctant to undertake space travel. Back on the Hail Mary, he is lonely until discovering a mysterious rock creature that mirrors his actions. He names him ‘Rocky’ and provides him with a computer voice. Their bond creates difficult choices that threaten the mission’s complex trajectory.
The film proves why Ryan Gosling is one of his generation’s most likeable actors. His career has steered from dark indie films, such as Blue Valentine (2011), towards broader comedies, including Barbie (2023) and The Fall Guy (2024). Present in each scene, his comic timing is pinpoint, and he excels at physical comedy.
He draws big laughs early on when his body is manhandled by machinery shaving off his beard. Disorientated, he stumbles over equipment and crawls through the ship’s narrow interiors. The humour lessens the weight of difficult scientific jargon. Gosling’s clumsiness also emphasises Grace’s imperfections. It infers even regular people can make sacrifices and positively influence the world’s climate action.
After memorable turns in Anatomy of a Fall (2023) and The Zone of Interest (2023), German actress Sandra Hüller is the perfect foil for Gosling’s clownish Grace. Eva is smart and intimidating. Her intensity distances her from Grace. Yet an unexpected karaoke scene adds warmth to their working relationship. Sandra Hüller singing Harry Styles’ ‘Sign of the Times’ was not on anyone’s bingo card, but it is moving.
Lord and Miller show their technical expertise extend beyond detailed effects shots. They open with colourful, abstract images before deploying quick cuts to visualise Grace’s displacement. Later, a long shot through a narrow passageway infers his isolation. We learn he separated from his partner because she said his head was in the clouds. He also feels insecure and small because early on his thesis paper is disproven.
Yet he grows increasingly tolerant of Rocky’s intrusiveness and superior knowledge. Rocky is a little marvel. Conceived through puppetry and animation, his scenes with Grace are funny and gentle. Lord and Miller have also said no greenscreen was used. Instead, physical sets give the ship a hand-built, tactile quality.
Project borrows ideas from various sci-fi films, particularly Arrival, but resists cliches. There are no violent enemies and aggressive set pieces are scarce. The film is funnier than The Martian and forgoes the retro soundtrack of Guardians of the Galaxy (2014). However, the spectacle trumps plotting and clarity. The pseudo-science is confusing, jibber-jabber even as Grace clumsily scribbles across a whiteboard.
As effective as Lord and Miller’s humour is, they are not as deft with emotions. Gosling makes the film poignant alone. However, Daniel Pemberton’s loud music score telegraphs how affecting these beats are. For example, Grace and Rocky’s ongoing reunion is accompanied by a built-in personal orchestra!
Project Hail Mary is still memorable for Goddard’s humorous script and the visual panache. It is most surprising as a study of loneliness. Gosling’s funny jester is appropriately self-deprecating. Grace’s dependency and warmth towards an alien form is also pivotal for anyone feeling powerless against climate change.
By leaving our narrow orbits of knowledge there are new discoveries in the unknown. This thematic line is not unlike watching the film itself: take a welcome leap forward but don’t expect all the answers at once.
Summary: Project Hail Mary is enriched by Gosling’s lively comic performance and strong craftsmanship from its capable directors.
3.5
Engaging
About the Author
Damien Straker is a freelance writer and film critic. He studied at the University of Sydney and graduated with an Arts Honours degree in Film Studies. He is a pop culture aficionado and enjoys talking about all films, 90s TV shows, ninjas and watching Rugby League. His favourite film directors are Alfonso Cuarón, Clint Eastwood and Alexander Payne.
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