Even as well-versed in cinema as I am, sometimes I get things wrong.
What I mean is this: there are movies that I’ve enjoyed that I think should have been bigger hits and vice versa. For example, when I saw the trailer for A Minecraft Movie, I was convinced it was going to be a massive bomb. One year and a barrage of “chicken jockey” memes later, I was clearly proven wrong. On the opposite side of things, I was sure The Fall Guy would be a massive hit, and I was pounding the pavement to get people to see it. Unfortunately, the efforts of one person were too little to turn it into a success, and despite the fact that I love it, it was a box office disappointment. You can study this process for years, as I have, and still not be able to predict whether something will be a hit.
All of this to say, I think Project Hail Mary is going to be a massive hit, and I really hope I’m not wrong.
This film, adapted from Andy Weir’s novel of the same name, follows Dr. Ryland Grace (Ryan Gosling), a molecular biologist turned middle school science teacher who is given a chance to be part of something important, whether he wants to be involved or not. Government agent Eve Stratt (Sandra Hüller) leads a task force studying a microorganism called “Astrophage.” This substance is causing the Sun to dim, which will trigger an ice age within thirty years if not stopped. Through a series of circumstances, Grace ends up on an intergalactic mission to finish what Stratt and her team started, trying to save the world in the process.
I’m being intentionally vague about the plot because the movie’s structured around a few big twists. Some have been revealed in the trailers and marketing, but in case you haven’t seen any previews, I won’t spoil them here.
What I will say is this: Project Hail Mary is 2026’s first truly great movie.
Phil Lord and Christopher Miller have a long history of taking unlikely concepts and making them work on the big screen. Starting with their first feature, Cloudy with a Chance of Meatballs, they transformed a simple children’s book into a delightfully bizarre and heartfelt story. Next, they took a cheesily serious television show, 21 Jump Street, and turned it into a self-aware comedy that riffed on its own premise. They are also the only filmmakers I can think of who made a genuinely funny, clever, and emotional story out of Legos and then followed that up by spearheading two of the three best Spider-Man movies ever made with the Spider-Verse franchise. Project Hail Mary is perhaps the biggest canvas they have had yet, and they rise to the occasion.
This is beautifully made and beautifully told from top to bottom. As energetic and silly as Lord and Miller’s sensibilities can be, they also have a gift for slowing things down to build character. Think of the tender conversations between Miles Morales and Gwen Stacy in Across the Spider-Verse, moments that ground a wild universe in real emotion. Similarly, Project Hail Mary balances large-scale science fiction ideas with intimate character relationships. Scenes between Grace and Stratt, and between Grace and Carl (the always likable Lionel Boyce, Stratt’s chief security guard), bring warmth and humanity to material that could otherwise feel dense.
Much credit also goes to screenwriter Drew Goddard, now two-for-two with Andy Weir adaptations after 2015’s The Martian. While the stories share some similarities, Goddard differentiates them so that Project Hail Mary stands firmly on its own. Ryland Grace is not Mark Watney, and his emotional journey feels entirely distinct. Like The Martian, this film explains complex science in a way that anyone can follow, while maintaining a sharp, nerdy sense of humor. Some of my favorite examples are Grace’s wardrobe choices, with great work from costume designers David Crossman and Glyn Dillon. Honestly, Goddard should probably be the permanent adapter of Weir’s novels, as his sensibilities match Weir’s perfectly.
Ultimately, the movie works so well because of Ryan Gosling’s fantastic performance. He’s such a big star these days that it’s easy to forget what a great actor he is. He gets to show off his quick wit, reminiscent of Barbie and The Nice Guys, but also dives deep into Grace’s emotional core. The film reveals key details about his past that give context to his guarded demeanor, leading to some immensely satisfying moments of heroism and self-sacrifice. Sandra Hüller, meanwhile, is wonderful as Stratt. Known for her dramatic turns in Anatomy of a Fall and The Zone of Interest, she brings lighter energy here without losing gravitas. She balances warmth and authority beautifully, making her a perfect foil for Gosling.
Finally, the film’s craftsmanship deserves major praise. Cinematographer Greig Fraser (Rogue One, The Batman, Dune) creates sumptuous interstellar imagery, and his play of light and shadow inside the ship is stunning. The visual effects are top-tier, but the practical work from Neal Scanlan, Vanessa Bastyan, and their team gives the film real texture. And Daniel Pemberton’s score is nothing short of spectacular, epic, emotional, and inventive. He mixes old and new instrumentation in a way that mirrors the movie’s tone: modern in ambition, yet nostalgic in spirit.
Project Hail Mary is a triumph on almost every level. Sure, you can feel the runtime in a few spots, but that’s nitpicking. This is a blockbuster that transcends “fun popcorn entertainment” while still being exactly that. I would happily bet this will be a Best Picture contender next year. Go see it — you won’t regret it.