By Keith Walther | Rose Law Group Reporter
This is a big budget production that supplies almost everything you could want from a blockbuster film, such as a simple, yet cohesive story, a visual spectacle, suspenseful action, humor, and star power. What “Project Hail Mary” lacks is an ending that is both satisfying and memorable with better editing and a more serious tone. As the newest space sci-fi drama adapted from Andy Weir’s 2021 novel of the same name, it’s a compelling enough story of planet saving proportions that adds an extra layer of cheese whenever possible.
Waking up on a spacecraft that is light-years from Earth only to find he is the only surviving crew member; science teacher Ryland Grace (Ryan Gosling) comes to grip with his dire situation. Suffering from memory loss, he slowly comes to the realization that his mission is to save his planet from a sun devouring organism. He finds an unexpected ally among the stars he affectionately refers to as Rocky (James Ortiz) on account of his rock-like appearance. Together they try to figure out how to avert the apocalypse of their respective planets, building an unbreakable friendship along the way.
Hiring two animated film directors to helm this feature is possibly the biggest mistake this production makes. Phil Lord and Christopher Miller are best known for their animated films, “Cloudy with a Chance of Meatballs” and “The Lego Movie,” both highly entertaining family flicks. They seem to make this film as if it were also animated with almost cartoonish action and behavior. This contradicts the overarching storyline of an end of the world scenario, creating a schizophrenic tone that bounces from goofiness to melodrama to buddy comedy to suspenseful thriller. As a result, the emotionally impactful moments are lessened and watered down. The Disney treatment these directors give this story effectively dumbs down the science, turning this into a more superficial adaptation catering to children. It’s as if they were going for some odd combination of “E.T.” and “Armageddon” mixed with a bit of “Turner and Hooch”.
Granted, the two directors wisely convey this story in a non-linear format with well-timed flashback sequences that provide those integral pieces of the puzzle that keep audiences invested in the story. They also emphasize the visual prowess of the film, priding themselves on incorporating more practical effects, purposefully avoiding green screens to convey a more authentic feel. Lord and Miller built a full-size, functional set, drawing inspiration from the ISS (International Space station). Audiences will appreciate this realism that makes the IMAX viewing experience all the more special. Even the alien is created using a blend of puppetry and animatronics, although it looks like a rock spider. There would have been a greater attachment to this alien character if it was more humanoid in form.
The editing is another key flaw in this film’s construction as it drags about 30 minutes longer than it needs to be. Lord and Miller spend too much time conveying each significant plot point, spelling them out as if viewers have a lesser intellect incapable of deciphering subtleties. Then there’s this multi-layered climax that makes it seem the directors don’t know how to end the movie. All that is missing is a Muppet type of character popping up to say, “but wait, there’s more.” However, despite all these scenes being stretched too long, pacing is not an issue for this movie, because they involve so much worthwhile comedy that keeps viewers laughing through the over two and half hour runtime.
If not for the incredible charm and talent of Ryan Gosling, this would actually be a poorly made film unworthy of attention. Gosling’s quick-witted, timely line delivery is responsible for almost every bit of humor throughout the film. Even though his character is also the source for a majority of the science that is delved into, he still creates this every-guy persona that makes him relatable and likable. To cap it off, he has the added responsibility of having almost all the screen time without a co-star to interact with, minus the flashback scenes. This is a heavy burden that most actors would buckle under, but he makes it look easy, reminiscent of Tom Hanks in “Cast Away.”
“Project Hail Mary” shoots for the stars but feels more like a journey aboard SpaceX that barely exits the atmosphere and lasts about as long. Suffice to say, this pales in comparison to “The Martian,” which was also an adaptation of an Andy Weir novel. Do not expect to be blown away, especially considering the severely overrated accolades it has been receiving early and often, but it does check the necessary boxes to be an entertaining blockbuster. If you’re looking for a simple, satisfying family outing to the theater, then this is the best bet that appeals to all ages.
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