There’s been no shortage of anticipation surrounding Project Hail Mary. With Andy Weir’s bestselling novel making the jump to the big screen (much like his previous 2011 best-seller, The Martian, adapted onto 2015’s silver screens under Ridley Scott‘s direction), all eyes are on whether Weir‘s lightning can strike twice. Much like Matt Damon before him, Ryan Gosling is indeed the lightning rod for such success, conducting all energy from the film’s premise through his hugely personable demeanour.
In the same way Channing Tatum has ‘two Tatums’ in his repertoire, the brooding version seen in 2024’s ‘Blink Twice’ and the comedic variety more closely associated with his ‘Jump Street’ portrayals, Gosling taps into his own affable form throughout Hail Mary, with his dry humour and subtle charm contributing to widely positive critical acclaim during the movie’s opening weekend at the Box Office. And… Much like the Jump Street movies, directed by Phil Lord and Christopher Miller, the pair are once again in the hot-seat for the 156-minute run time of ‘Project Hail Mary‘.
From the opening moments, the film throws audiences straight into the unknown. Gosling’s character of Ryland Grace wakes up alone in space, disoriented and tasked with an almost impossible mission to save Earth. It’s an immediate hook that works, pulling viewers into a narrative built on tension, mystery, and problem-solving. Fans of Weir’s work will instantly recognise the DNA of The Martian here—another lone scientist using intellect and improvisation to survive against the odds.
But beneath the surface, there’s also a lingering sense that we’ve seen elements of this all before. And while Project Hail Mary does enough to stand on its own, the comparisons are hard to ignore. The structure, tone, and even the humour feel strikingly similar at times, almost to the point where it risks feeling like a spiritual retread rather than a bold evolution. Where The Martian felt fresh and tightly focused, Project Hail Mary occasionally leans too heavily on the same formula.
That familiarity extends beyond Weir’s own work. The film’s central premise—humanity facing an existential crisis tied to space and survival—echoes themes seen in films like 2013’s Elysium (another ‘Matt Damon in Space’ production). So, while the execution here is more grounded and science-driven, the overarching ideas don’t always feel particularly new within the genre.
Still, what helps elevate the film is its character work—particularly Gosling’s performance. He brings a natural charm to Ryland Grace, blending humour with vulnerability in a way that keeps the film grounded. Through a somewhat exposition-heavy and slow-paced first act, Gosling keeps things alive through his quietly compelling showing as the slightly dorky genius who has little confidence in himself but has the capability to prove himself wrong. His growth is the key emotional throughline of the film, giving audiences something to connect to beyond his mission. There’s an everyman quality to his portrayal that makes the high-concept science feel accessible, even when the stakes are astronomical. It’s a performance that carries the film through some of its more familiar beats.
Of course, the real standout element of the film is the relationship between Grace and his new alien chum, Rocky, a loveable sidekick whose small psychically and inability to speak a coherent language resembling ‘human English’ give strong nods to the dynamic seen between the Mandalorian and Grogu. Without diving into spoiler-heavy territory, Rocky quickly becomes more than just a narrative device—he’s the emotional core of the film. Their evolving friendship is filled with humour, tension, and genuine warmth, providing some of the film’s most memorable moments; including an explorative mission steeped in gorgeous IMAX-rich green colours, towards a planet Gosling names as ‘Adrian’, a nice easter-egg slice of pop culture, in reference to Stallone‘s Balboa series.
Akin to the bond between Din Djarin and everybody’s favourite baby-Yoda, the “hardened protagonist forms a soft, evolving bond with an unusual companion” trope is effective—but it’s also become increasingly familiar. At times, Project Hail Mary leans into this dynamic in a way that feels more comfortable than innovative. That said, the film does enough to make the relationship feel earned. The communication barriers, gradual trust-building, and shared problem-solving add layers that prevent it from feeling like a complete rehash. It may not be groundbreaking, but it’s still genuinely engaging. Visually, the film delivers a strong sense of scale without losing its intimacy. Space feels vast and isolating, while the more contained interactions between characters keep things grounded. The balance between spectacle and storytelling is handled well, even if the film occasionally slows under the weight of its own exposition.
Some of the more science-heavy sequences, while impressive, can drag slightly—particularly in the middle act. But these are a necessary tee-up for a particularly fitting finale, which feels incredibly ‘Christopher Nolan‘ in the way all the moving pieces, including flashbacks to Grace‘s former life on Earth, culminate. The sequence wouldn’t look out of place in ‘Interstellar’ as Daniel Pemberton‘s score swells around Nolan-esque ideas of calculating journey times back to Earth, versus risks, implications, and importantly, rocket fuel allowances. It is a particularly strong performance from Pemberton, who previously worked with Lord & Miller when composing his score for ‘Spider-Man: Into The Spider Verse‘.
Ultimately, Project Hail Mary is a film that succeeds through execution rather than originality. It’s smart, well-acted, and emotionally resonant, but it rarely breaks new ground. Instead, it refines ideas we’ve seen before—sometimes to great effect, other times to diminishing returns. For fans of sci-fi, there’s still plenty to enjoy here. Ryan Gosling delivers a compelling lead performance, the central relationship provides genuine heart, and the story remains engaging throughout. But for all its strengths, Project Hail Mary can’t quite escape the shadow of its influences. It may not redefine the genre—but it’s a journey worth taking nonetheless.
How does Project Hail Mary compare to your favourite films of 2026 so far? Email jake@cultr.com for your thoughts on this movie, and this review!