Review: Project Hail Mary

I am still quite torn after my second viewing of Project Hail Mary. On one hand, I love it as a “buddy movie”—the dynamic between Rocky and Ryan is, quite frankly, “amaze amaze.” It’s emotional and entertaining in a way that catches you off guard. On the other hand, the film’s architecture feels clunky, and I’m struggling to push past some significant stylistic misgivings.

My biggest hurdle remains the dense science. During my first watch, I felt the sci-fi wasn’t fascinating enough; now, I realize it’s because the exposition is too fast and heavy to actually absorb. I couldn’t help but wonder how James Cameron would have handled this. Cameron is a master at laying down the mechanics of science (or the mechanics of a sinking ship) so the audience can relax and enjoy the ride. Here, the intermittent technical exposition is often glossed over, reminding me of what I dislike about certain Christopher Nolan films.

Then there is the non-linear structure. I’ve never been a fan of flashbacks; they often feel like a “sore thumb” or a manipulative band-aid for a lackluster narrative. To me, a flashback usually triggers one of two reactions: “Why didn’t you tell me that the first time?” or “So now I have to feel different because of this backstory?” Without elegance and expertise, they just feel like having too many “by the ways” in a single paragraph.

Finally, I have to mention the protagonist’s name. Did the main character really have to be named Grace? Having “Hail Mary, full of grace” running through my head the entire time felt like an incredibly obvious play on words. It reminds me of why I hated Good Will Hunting—these literalist naming conventions always pull me out of the story and ruin my appreciation of the film.

I’m left wondering if reading the book would solve the pacing issues for me, but for now, the film remains a collection of fine elements that desperately needed better stylistic restraint.