When the world is at stake, a science teacher finds himself in oblivion, clawing back to his own humanity and chasing the connections that give our lives meaning. The question on every cinephile’s mind is what is that first big movie to kick off the year. One where you have to go to the theatre to see it on the big screen. Last year it was Sinners, and the year before that it was Dune: Part II. Both would go on to thrive at the box office and share the spoils at the following awards season. It is fair to say many were wondering, and eagerly anticipating what that would be for 2026.
In comes Project Hail Mary, an adventure like odyssey stepping into the realms of deep space exploration, and a life or death mission to save all of humanity, and beyond. It is quite ironic that 10 years ago, Ryan Gosling starred in one of my favourite musicals La La Land. Where one of the featured songs was titled City of Stars, just to find himself lead this gargantuan epic that is all about chasing the city of stars that surrounds our world and more. In fact, Gosling may be the perfect man for this job and mission.
Closely adapting Andy Weir’s novel by the same name, Phil Lord and Christopher Miller constructs an incredibly ambitious foray into outer space, where we follow the bravery of one man and a cute rock that would go on to defy the odds. Structuring the plot from a starting point where the protagonist wake up to find out he’s been placed on a spaceship and he has no idea what he’s doing.
Ryland Grace (Gosling), former science teacher now astronaut retraces his past where we are taken into pockets of his many memories. One of which being recruited by global task force leader Eva Stratt (Sandra Hüller), after teaching his class about the mysterious alien like organism that seems to be eating stars. Eva recognises Grace as a brilliant mind, capable of identifying the Astrophage remnants and how to prevent it from eating up our sun, putting billions of lives at risk in the next 30 or so years. Therefore, she assigns the great task of positioning Grace to do more than teaching. To now become a hero whether he is ready for it or not.
It is clear from this outline that Project Hail Mary is a mission to save both humanity and the world that surrounds us. But the real stakes comes from the revelation that this journey to the deep ends of space is a one way trip. A challenge no ordinary person is capable of facing. Sometimes you even wonder and ask to yourself – do I have what it takes? Am I brave enough? Maybe I am too selfish to do something as noble and compassionate as giving up my life a greater cause. Eva seems to believe that spine and courage rests in Grace’s soul.
But what started out as a quest to stop the end of the world becomes a family friendly adventure lightyears away from earth. Where a science teacher befriends an unidentified alien form later known as rocky (props to Grace for the creative name), both having endured a lifelong journey and mission that feel like mere moments to us viewers.
The film arrives to the boiling point of its conflict which is where Lord and Miller’s adaptationtruly thrives, by proposing a dilemma and question. In the case that you complete themission, do you return home if given the opportunity? Or do you stay with the only true friend you made. Someone that has never betrayed your trust or lied to you. Someone that makes you feel alive and loved.
It sounds easier when I put it that way. But as humans we crave the normalcy of our earth, it’s a challenging deal that requires a great sacrifice whichever you choose. Suppose that’s where Grace, Rocky and Eva all shine as interconnected arcs, they each recognise what they have to lose to discover something more important and meaningful in the long run. It’s the memories we create with one another and the bonds we forge that stand the test of time.
The technical aspects go without saying. Greig Fraiser tweaks his framing specially to employ his trademark techniques. Emphasising far wide shots and introducing tilted angles when the structure of the story focuses on the past. Almost like a sudden distortion into the memories that are out of place in time. But what really blows you away is the stargazing scenery and expansive landscapes that surrenders you in total, absolute awe. The visual imagery is a sight to behold. And one sequence in particular had the entire auditoriums stunned in silence, some teary even.
Pairing this with Daniel Pemberton’s hopeful, soul stirring score that transcends what you expect from genre music into something universal, palpable and free flowing in operatic form. The audiovisual experience is a sensation I haven’t yet felt in 2026 until now. Maybe not since Sinners a year ago. It is clear Phil Lord and Christopher Miller assigned themselves a gargantuan task and succeeded in dividends to deliver one of the most emotional cinematic works of the year.
Where the film could have brushed up on was the final act. At times it does feel like it keeps going on even if I remain thoroughly engaged. Certain story points involving the the theme of trust and a big reveal may have needed more time to breathe to really have its impact settle. But when the film dares to be so ambitious and commits to its unflinching fight for hope and connection, against all odds. It is hard to complain too much, the effort dissuades you from it which is a testament to the craftsmanship at display.
Overall, Project Hail Mary is a stunningly composed creation. Offering you a journey to remember that combines the best aspects of filmmaking and emotionally driven narratives in a synchronous manner. You come away feeling more grateful to be around life and the earth itself. Being able to see the stars in the skies and vast oceans that surrounds us. Phil Lord and Christopher Miller’s beautiful testament to the power of connection and being one with the universe. To infinity and beyond, as Buzz Lightyear would say.