Yay Space!
Courtney Howard // Film Critic
Rated PG-13, 2 hour and 36 minutes
Directed by: Phil Lord and Christopher Miller
Starring: Ryan Gosling, Sandra Hüller, James Ortiz, Ken Leung, Milana Vayntrub, Lionel Boyce
Elmo’s friend Zoe should feel completely exonerated by PROJECT HAIL MARY as the heartrending, pulse-pounding sci-fi dramedy shows folks can actually befriend rocks (or, in this case, rock-shaped aliens) and have their unlikely friendship lead to world-saving discoveries. Directors Phil Lord and Christopher Miller’s immersive dazzler plays like a mash-up of CAST AWAY, INTERSTELLAR and E.T. THE EXTRA-TERRESTRIAL, replete with awe-struck wonderment, heartfelt poignancy, gorgeous aesthetics and technical wizardry. Along with writer Drew Goddard, who lovingly adapts Andy Weir’s best-selling novel, they deliver an exquisite masterclass in filmmaking, filled with gobs of heart, hope and humanity.
The film is tightly organized in a non-linear structure that never reads as gimmicky. It makes probably the best use of “in media res” seen in quite some time. Middle school science teacher Ryland Grace (Ryan Gosling) awakens out of cryosleep light years away from Earth, sporting a rubbery peach jumpsuit and suffering from temporary amnesia. After the sobering discovery that he’s the sole survivor aboard his intergalactic craft, he proceeds to get wasted, bumble around the ship (Gosling’s slapstick-inspired pratfalls are top shelf) and wait for his memory to return. He also lacks a two-way communication system so no one can phone him the answers. He soon remembers he’s been sent on a secret government mission to save Earth as the Sun is dying, being eaten by a mysterious substance.
As Ryland travels to the Tau Ceti galaxy to harvest samples and solve an impossible riddle, he unwittingly runs into another space traveler, a pint-sized, multi-legged alien life form, who, similar to Ryland, is the only one left aboard his own massive spiky spaceship. The two must first figure out how to bridge a language divide before proceeding on their united quest. They also must contend with dwelling in two different atmospheric environments. Ryland names him Rocky (voiced by James Ortiz) and gives him a voice translator. The dynamic duo hit it off, commiserating over their different cultures (human and Eridian), sleep behaviors and loved ones back home, all the while “sciencing the shit” (to borrow a line out of Weir’s previous blockbuster adaptation, THE MARTIAN) out of their experiments.
Lord, Miller and Goddard balance tonal fluctuations with assured aplomb. Ryland’s heightened circumstances and internal conflicts both lend themselves to inherent comedy, from his refusal of the call while on his hero’s journey to the final frame. Meeting Rocky and teaching him colloquial turns of phrase are amongst the highlights, as are Rocky’s party wardrobe choices and childlike questioning (like pointing out Ryland’s ship is messy). Dramatic swerves into poignancy feel genuinely earned, causing our hearts to swell and tears to fall.
All the heady science lingo is distilled into digestible dialogue to educate the audience. Problem-solving sequences are as exciting as the action scenes where Ryland dangles outside his ship. I’ve also never seen a populist, mainstream film advocate for “death with dignity,” dealing with the pilot (Ken Leung) and engineer’s (Milana Vayntrub) critical lifespans in such a straight-forward, unsentimental manner. Though there’s one too many Rocky in Peril sequences, the thrills of seeing both our fearless explorers put under pressure while placed in danger remain palm-sweat inducing.
Aesthetically, the filmmakers have assembled a show-stopping knockout. Lord and Miller play around with shifting aspect ratios to enhance emotions. It’s easy for us to track the non-linear story as it’s shot in IMAX when we’re in space, and it’s in widescreen during the flashbacks to Earth with Ryland and Project Hail Mary’s lead Eva Stratt (Sandra Hüller). Visual effects artists paint with intense colors and light, showcasing space in alluring jewel-like tones as it swirls and shimmers in pearlescent green, blue, fuchsia and orange. Cinematographer Greig Fraser’s gentle touch illuminates character-driven action impeccably, augmenting the atmospheric pull. Production designer Charles Wood gives the ship’s pilot room, laboratory and entertainment center distinct, unique personalities.
Sound design is an auditory delight. Composer Daniel Pemberton’s pieces fill the aural space with beauty, revelry and a percussive heartbeat. Lord and Miller needle drop on a few recognizable songs, all eclectic in genre from Latin music to 80s rock (Scorpions’ “Wind of Change”). However, the best use of a song selection is Harry Styles’ “Sign of the Times,” which is sung by Eva during karaoke, as the lyrics double as a reassuring lullaby to her departing crew and recognition of these heroes’ daunting task.
Audiences quick to anthropomorphize animals will be completely charmed by and instantly enamored with the Eridian engineer. Rocky’s character construction is as universal in motivational appeal as Ryland’s. Their equally weighted and tethered connection is the common goal to save their respective planets from extinction. Despite Rocky being a puppet, the magical illusion that he’s not a real life being is never broken. It doesn’t even factor into our minds. We always believe he’s an intergalactic creature and confidante. He’s as alive to audiences as Paddington or the Muppets are in their realities on screen. Hats off to Framestore (who also had a hand in bringing that mischievous Peruvian bear to life) as well as the on-set puppeteers, who give him nuanced physicality and expressions. Whether he’s rolling around in his proto-hamster ball solving problems or placed in a more stationary position, dancing with glee, we are totally enraptured by his presence.
Gosling is great of course, skillfully acting against his character’s otherworldly charge in addition to Hüller with whom he shares good chemistry. No stranger to the genre, our leading man shades his hero with open-hearted vulnerability, wit and intellect. His comedic timing is precise, nailing the jokes where they count as well as softening the edges so they don’t undercut the drama. Hüller’s dry, German edge works perfectly for her character, particularly when convincing Ryland to help. Lionel Boyce, who plays CIA agent Carl, also gets a few indelible scenes to shine, aiding Ryland in his deductive calculations.
A towering achievement and shining beacon of hope for when we all need it the most, this is a must-see on the biggest IMAX screen possible (though it’s basically imperative to see it however you can, on whatever format is convenient for you, in a theater).
Grade: 4.5 out of 5
PROJECT HAIL MARY opens in theaters (on a various array of delicious formats) on March 20. Early access screenings begin on March 13th and run through the 15th.
