When desperately confronted with the impending, alarming peril of a fading sun, the only answer is to dauntlessly look into the vast, dwindling, twinkling twilight as the doomsday clock ticks — searching for an undetermined answer.
Following an impeccable portfolio of films such as The Lego Movie and Spider-Man: Across the Spider-Verse, directors Phil Lord and Christopher Miller add another phenomenal and memorable entry to their collection with their adaptation of Project Hail Mary, originally written by Andy Weir.
Through a mix of engaging pacing, dazzling cinematography and an immersive soundtrack, Project Hail Mary delivers a stellar production that captures the curious and bewildering nature of the cosmos, which is guaranteed to leave audience members stargazing.
Proper pacing puts patrons in constant anticipation for what comes next — the film never feels stuck in one place. Though location doesn’t change often — space all looks the same — environments do.
In the desolate margins of space, the shuttle confining Ryland Grace, played by Ryan Gosling, acts as a character of its own. Starting out as a sterile, untouched place, the spacecraft adapts to the story’s ever-changing conditions. As turbulence damages the hull, luggage gets thrown around and unsuspecting surprises settle in, Grace’s surroundings reflect the tribulation of the expedition he faces.
Through calculated and practical shots, the cinematography feels intentional and intelligent. The exorbitant use of tight shots curates a strong and intimate connection to the characters. Lord and Miller’s set pieces are breathtaking and out of this world — with enough impact to make those moments feel ever more real.
The music feels familiar yet not typical of what is usually played in a space flick. Debussy’s “Clair De Lune” does not make its highly anticipated appearance but is substituted with strong compositions, turning every scene into an exquisite presentation.
Ryan Gosling’s performance is solid through-and-through. Noticeably, his recital of Ryland Grace hints at a feeling of enjoyment in the role that reflects in the overall act —- positively affecting the audience in a similar manner.
As serious and gritty as the film sounds, there is a strong mix of comedy and lightheartedness. Jokes are well separated from hard-hitting moments. Feel-good scenes are enduring, perpetuating a mood that lasts the whole 2 hour and 36 minute runtime.
With all the film does right, and not so much at the fault of Lord and Miller, there are still some upsets. Moments of conflict are short lived, leaving no lasting impact. It never feels as if anything is ever really lost in the effort to resolve the overarching conflict. Every small step back becomes a giant leap forward. For a story with a major focus on having a high price on the line — there is no meaningful payment. The lasting impression is one feeling more akin to a sightseeing trip than a perilous journey.
Regardless of its slight imperfections, Project Hail Mary is a well-orchestrated, marvelous spectacle sure to keep most glued to the screen — making it well worth the trek to the theater.
