Whenever it comes to a discussion between sci-fi, space-like aesthetics, and dark fantasy blades and sorcery, I have generally always preferred the latter. Other than the obvious sci-fi masterpieces like the original Star Wars trilogy, or basically anything Denis Villeneuve has done in the past decade, there is always something yawn-worthy to me about yet another mindless space expedition film that thinks it is more intelligent than it is. The likes of Interstellar or Gravity were massively overhyped for me, and did not move me in the way that they did for others. It is pretty much summed up under the umbrella term of ‘anything that is trying to be 2001: A Space Odyssey and quite clearly is not’. I need a film like this to give me something different, filled with a bit more heart rather than just gawking at sci-fi greats and forgetting to actually make anything of note in the process. When I heard about Project Hail Mary, I cannot say that I was particularly interested, even with my love of Ryan Gosling. This is mostly down to the fact that it basically sounded like Interstellar, and therefore, I wrote it off as probably doomed to fall into that aforementioned category. Having not read the book or even heard of it, really, I was going into this film pretty blind and perhaps cautiously optimistic that Gosling’s charisma would revitalise what I often have found to be a genre rather devoid of life. I can say emphatically that not only did Gosling prove he is one of the most likable actors around today, but this film is full of that very heart and charm I have been looking for in a space venture. With its strange quirkiness, breathtaking visuals, and some of the most interesting and lovable characters in the genre, this is an instant sci-fi classic and the first excellent film I have seen this year.

Project Hail Mary follows Ryland Grace (Ryan Gosling), who has just woken up from a coma aboard a spaceship. With no initial recollection of where or even who he is, he stumbles around the ship to find that everybody else aboard is dead. Trapped alone in space, he slowly starts to remember his past and why he is there. As a school teacher, but more importantly, a former molecular biologist, he was recruited for his talents and to assist in potentially saving the human race from eventual extinction. The Sun is dying due to some unknown substance that nobody knows anything about, and Government agent Eva Stratt (Sandra Hüller) believes that his past research and field prowess may be their last hope. Sent on a space expedition to a system with a sun that seems to be surviving the phenomenon, Grace must solve the great mystery presented in front of him. However, when a strange ship appears in the void of space next to him, it becomes clear that this might not be something he does alone.

There has been a bit of controversy about what the trailer shows of this film, and I would agree that it probably shows too much. Still, everybody else is talking about ‘it’, so I will just go out and say it: Rocky the alien is Grace’s companion in this film, and he is one of the most wonderful non-human characters in recent memory. All of the characterisation is exceptional, but the relationship between Grace and Rocky is something truly special, and it would be immensely difficult to talk about this film without mentioning what is essentially the core of the film. It is so hard to even piece together exactly why Rocky is so brilliant, but the way that he and Grace bounce off each other definitely has something to do with it. Their coming together via their mutual goal of saving their respective planets is very compelling, and it not only creates a sense of urgency for the narrative but also forms an undying bond between them that is so infectious to get swept up in. The creative ways they communicate, their slow build of understanding for each other, all amount to some crucial moments that really test their relationship to their very limits. Rather than a gross sense of over-schmaltzing that a lot of friendship-led narratives like this can entail, sentimentality is beaming out of this film in a way that feels earned, stemming from the build of the characters individually, but also a compelling narrative to support it all. Even with such an epic premise, that compelling nature still has to be forged through the constant mysteries and subsequent small victories that the characters have. Seeing Grace’s progression from teaching in a middle school to making major scientific accomplishments and then flying through space is perfect, showing the escalation of the stakes the further they delve into this mystery. Showing these breakthrough moments, with some interesting complications along the way, Project Hail Mary remains enthralling and interesting throughout its entire runtime, and for a film that is almost three hours long, that is some feat.

It is all well and good having fantastic characters and a captivating narrative, but when placed with the void of space as your canvas to create some visual delight, you have to make it count. Luckily, Project Hail Mary is more than up to the task, giving us not just mouth-watering kaleidoscopic stills but also offering a great deal of personality in its effects and production design. I said earlier about films that try to be Kubrick’s 2001 and fail, but this has a visual palette that is very evocative of it, and still manages to have its own identity. The design of the ship, how it twists and turns to turn on its gravity, the way it drifts through space, is all very slow and mechanical in a way that is very reminiscent of 2001. Its uniqueness is really where it shines, though, particularly in how expressive its visuals can be. Some sequences use a strange sort of stop-motion-like effect, and it is used often for a sort of quirky comedic effect that works really well. The use of no green-screens, vouching for fully built sets, is always a massive plus, showing a lot more care and attention to detail. Of course, there is a lot of VFX used, but it is not like they were actually going to send Gosling to space. One of the most impressive visual tools is the fact that Rocky is a proper puppet rather than a CGI rig that Gosling has to just pretend is there. This is probably the main reason their connection is so felt by the audience, because a puppet is always going to bring more out of somebody acting beside it. That tangibility vastly helps bring him to life, and it makes him feel more familiar as a result, too. Rocky’s ship is also such an incredible-looking behemoth that looks so otherworldly and truly alien, in a way that it is hard to even think about how they thought of it. This bewilderment is felt at every turn during this film, and it really does have to be seen to be believed.

Project Hail Mary is an excellent film, and it is a real delight for not just sci-fi fans but pretty much anyone. It may be a long film, and it can feel like it is about to end about five different times towards the end, but I do not think either of these things holds it back to a strong degree. Ryan Gosling is so much fun, completely dominating the screen, and gives such a range here. He is consistently funny, particularly with Rocky, but he can also flip to a more sombre tone when the narrative needs it to. The narrative is shaped so well, giving some incredible high moments that make you feel elated, but also shining brightly in some of its smaller and more intimate moments, particularly those concerning Grace and Rocky’s friendship. I loved this film, and although right now I might not quite think it’s a full-blown masterpiece, I have a strong feeling this is going to get better with time, and its classic status is basically a guarantee.