REVIEW: Project Hail Mary [2026]

Rating: PG-13 | Runtime: 156 minutes
Release Date: March 20th, 2026 (USA)
Studio: Amazon MGM Studios
Director(s): Phil Lord & Christopher Miller
Writer(s): Drew Goddard / Andy Weir (novel)

They think I’m dumb.

Ryan Gosling’s physical comedy ushers us into the world of Project Hail Mary the moment his Ryland Grace wakes from stasis with no recollection of who he is, where he is, or why he’s in space. His ability to name the scientific equipment on the walls does allow him to hypothesize he’s smart, though. Unfortunately, having the skill to calculate his distance from Earth won’t help him understand his purpose. So, the film shifts aspect ratios to reveal events leading here.

Adapted by Drew Goddard from Andy Weir’s novel (much like what happened on Ridley Scott’s The Martian), directors Phil Lord and Christopher Miller do a wonderful job using these flashbacks as information retrieval and comedic infusion. Because Grace is a funny guy. He’s self-deprecating to the point of cowardice when it comes to his beliefs, so putting him opposite regimented government agents Stratt (Sandra Hüller) and Carl (Lionel Boyce) is perfect.

Yes, this is true because of the personality clash, but also because of how Grace’s natural charisma seems to thaw them just enough to show their personalities when no one is looking. Boyce is great at letting out his enthusiasm from helping Grace solve complex problems with unorthodox maneuvers and Hüller never wavers in portraying just how serious their situation proves. If he can make them smile despite that, you know he’ll have you in stitches too.

The problem (in layman’s terms): An extra-terrestrial life form is eating the sun. And not just our sun. Every star that humanity knows about … except for one. So, since Grace is infamously known for writing a paper about life not needing water and this organism seems to be thriving on stars that obviously have none, he becomes the ideal candidate to start the research. The plan is then to train a team heading on a one-way trip to that sun to figure out how it has survived.

Well, since we met Grace on a spaceship many light years from Earth, something obviously went awry. Before we can begin to hypothesize, however, we become invested in the problems facing him right now. And since the flashbacks (or memories) arrive in chronological order, it’s easy forget that he’s not supposed to be on this mission. We’re too busy parsing the through the issue, solution, and application of what he remembers to the present.

Oh, and he’s not alone. Well, he is alone on his spacecraft, but he’s not alone in this specific part of space. Why? Because our sun isn’t the only one dying. If the laws of probability state that we aren’t the only planet with life (and the existence of this new species coined Astrophage, or “star-eater,” proves it), we won’t be the only one searching for a fix. So, we have one more thing to worry about in the here and now: Grace befriending an alien in Rocky (James Ortiz).

The narrative provides the perfect circumstances with which to ensure this rock-like creature looks as real as possible via stark contrasts to living environments. Grace can’t survive in Rocky’s atmosphere and Rocky can’t survive in Grace’s. So, for the most part, the two interact on opposite sides of glass walls. As such, the filmmakers weren’t forced into utilizing CGI. They could wield puppetry (Ortiz leads the team of puppeteers too) to better maintain authenticity.

Gosling and Ortiz’s rapport is obviously the highlight. They’re two similar souls trying to solve the same impossible task in conditions that demand a high level of improvisation on top of intelligence. In many ways they combine to form the ideal team by picking up where the other leaves off. Add a makeshift computer program bridging their language barrier (beyond the usual cultural peculiarities) and their quick wit and comedic timing becomes unparalleled.

We’re therefore watching two parallel narrative thrusts at the same time. The first sees Grace and Rocky working the problem to hopefully find an answer they can send back to their respective homes. The second sees Grace’s trajectory on Earth from Middle School teacher to the US government’s last hope. There’s a ton of commentary surrounding heroics, friendship, and self-preservation along the way as Grace better understands the necessity of sacrifice through love.

Greig Fraser’s cinematography is always keeping things interesting despite being mostly a one-location setting and Daniel Pemberton’s score is jacked into the fun nature of this otherwise mortal race against time. And since Lord and Miller are very different in their directorial sensibilities than a veteran like Scott, you must give Goddard a lot of credit for keeping Weir’s voice intact regardless. Project Hail Mary and The Martian are kindred spirits. If you love one, you’ll love both.

The same with Gosling’s Grace and Matt Damon’s Mark Watney. Their ability to play off the camera with humor despite just talking aloud to themselves is a gift, but their genuine emotion when called upon (and it is called upon a lot here since we’re dealing with two characters trying to stave off extinction) is what sets them apart—mostly due to that pathos augmenting the lighter moments through the contrast. Gosling is an absolute joy from start to finish.

And what more can be said about Rocky? He’s an ever-moving ball of energy whose infinite curiosity pairs well with Grace’s wealth of pessimistic sarcasm. We go from the latter’s desperation for interaction to hiding from the former because Rocky’s hearing and sight are too good to ever give him a moment’s peace. While Grace and Stratt float in the background together on Earth, Rocky pulls him into the chaos to bask in its joy. He’s reminding Grace what it means to live.