Project Hail Mary review: Ryan Gosling’s stunning space odyssey

A stirring blend of science and soul, Project Hail Mary finds its true power in the moving friendship between a human and an alien.

Rating; (4 / 5)

By Mayur Lookhar

Not quite biblical, but science fiction author Andy Weir looked to football for the title of his novel Project Hail Mary (2021). In (American) football terms, a Hail Mary pass is a desperate, last-second long throw with slim odds of success. This perfectly captures the dire conundrum his protagonist, and humanity itself, face in the acclaimed sci-fi novel Project Hail Mary.

Following The Martian’s (2015) successful film adaptation, screenwriter Drew Goddard returns to pen Andy Weir’s Project Hail Mary. With both his parents being educators, Drew Goddard feels like a natural choice to adapt Project Hail Mary. No Ridley Scott this time, instead, Phil Lord and Christopher Miller take the director reins. Unlike The Martian’s individual survival saga, Project Hail Mary is more about saving the planet.

Story

Ryland Grace (Ryan Gosling) plays the everyman science teacher, no astronaut pedigree, just classroom chalk dust, who gets shock-recruited for a do-or-die planet-saving space odyssey. Then fate (or raw survival smarts) drops an alien wildcard into his lap, turning solo desperation into their wild shot universe rescue.

Screenplay & Direction

The Martian and Project Hail Mary, both Andy Weir science fiction novels, differ sharply in journey and mission. The former’s a rescue tale; the latter, a one-way suicide mission to save Earth – at devastating personal cost. Phil Lord and Christopher Miller simplify the space science, but at core beats an unlikely friendship between man and faceless-yet-cute pentapod alien, whom Grace dubs Rocky. 

Tech helps solve the language barrier, but it’s the writing, the simplicity of communication, the humour that strikes a deep chord. So touched is one by it that after a point, all you care about is Grace and Rocky. to hell with the world. Backed by top-notch visual effects and production design, Lord and Miller deliver surreal space exploration seldom seen before on celluloid.

At 156 minutes, Project Hail Mary occasionally feels like it’s wrapping up before new threads emerge, making the journey a bit longer than expected.

Performances

Actor-producer Ryan Gosling delivers a wonderfully lived-in performance in Project Hail Mary, bringing warmth, wit and quiet intelligence to a character who could easily have felt like just another generic space hero. What stands out most is the ease with which he plays the friendly, approachable science professor-turned-reluctant astronaut, especially in the way he interacts with children and carries that natural, almost disarming kindness into the bigger emotional arcs of the film. Even in the scenes with Eva Stratt, the head of the mission, he keeps his tone casual and grounded, which adds a real human texture to the character. Gosling never overplays the drama; instead, he lets the audience feel the fear, uncertainty and curiosity beneath the surface. That balance becomes even more effective in the flashback portions, where the film gently builds the emotional weight of his journey before the mission begins. In space, too, he remains believable, not as a larger-than-life saviour, but as a man trying to survive, think, adapt and hold on to hope. It is a performance full of charm and restraint, and that restraint is exactly what makes it moving. Gosling makes the character feel intelligent without being cold, funny without losing sincerity, and vulnerable without turning sentimental. By the end, he leaves a strong impression as the emotional centre of the film.

Sandra Hüller gives Eva Stratt a strong, hard-edged presence, making her feel like a leader who is fully focused on the crisis at hand. She plays the character with a strict, no-nonsense intensity that fits Stratt’s role as the head of the Hail Mary project. There is no softness in the way she carries herself, and that makes the performance feel convincing and effective. At the same time, Hüller adds a quiet human layer to the character, especially in that brief moment when Stratt drinks a little and starts singing before quickly stopping herself and declaring, “party is over”. That small scene says a lot about the character without making her seem less powerful. Hüller understands that Stratt is someone who is driven more by duty than by emotion, and she holds that balance very well throughout the performance. It is a controlled, intense and memorable performance.

Usually, a pentapod, or any multi-limbed, crawling creature, isn’t the kind of being you’d want to spend time watching on screen. They’re often shown as foul, creepy presences meant to unsettle. But that’s not the case here. From the moment Rocky appears, the unease vanishes. His five-limbed design feels oddly comforting, even lovable. Much of that warmth comes from James Ortiz – both the lead puppeteer and the voice behind Rocky, who infuses every movement and line with emotion and personality. Supporting Ortiz’s heartfelt performance is Ray Porter, reprising his role from the audiobook. There’s even a charming moment when Rocky mimics Streep’s tone, prompting Ryland to quip that “she can do anything.” It’s a witty nod to Streep’s legacy and a reminder of how layered and alive this character becomes through performance alone. How could Streep not lend her voice for that one scene.

British Indian actress Priya Kansara’s voice as the Hail Mary’s AI feels effortlessly human, adding warmth and charm to the film’s sci‑fi world.

Technical Aspects

From a technical standpoint, Project Hail Mary is nothing short of breathtaking. The visual effects team crafts space sequences that feel both majestic and grounded in physical reality, blending science with cinematic beauty. The production design, from the intricate spacecraft interiors to the alien environments, reflects an obsessive attention to detail that brings Andy Weir’s world vividly to life. Of course, the man himself was deeply involved in the making of the film. Cinematographer Greig Fraser bathes it all in luminous light and shadow, creating a visual language that feels intimate even millions of miles from Earth.

Daniel Pemberton’s music in Project Hail Mary has a quiet elegance to it, it lifts the film’s emotions without ever overpowering them, blending warmth and wonder in a way that beautifully complements the story’s heart and tension.

Together, these artists ensure the film isn’t just a spectacle of technology, but a deeply immersive experience that feels tangible, emotional, and alive.

Final word

In the end, Project Hail Mary shines as an ambitious and heartfelt sci‑fi journey that celebrates human resilience and the unexpected beauty of a human‑alien bond, leaving you both humbled and uplifted as the credits roll.

Project Hail Mary is set to be released in India on 26 March.