Image via Amazon MGM Studios

The movie event of the year (so far) is here in the form of “Project Hail Mary,” a delightful sci-fi adventure that is a cinematic pleasure in every sense of the word. 

Ryan Gosling stars as Ryland Grace, a middle school science teacher who is called upon to save the planet from a mysterious microorganism that is causing the sun to die. In his quest to save the world, Grace finds himself lost and alone in space, where he forms a unique friendship with an extra-terrestrial life form. 

The film is directed by Phil Lord and Christopher Miller, who are best known for directing “21 Jump Street” and “22 Jump Street,” both brilliant reboots of the 1980s television show. Lord and Miller adapt “Project Hail Mary” from the highly acclaimed Andy Weir novel of the same name and deliver marvelous work in doing so. Their direction gives the film a level of practicality that is entirely tangible, resulting in a larger-than-life story that feels entirely grounded at the same time. 

The companionship that Grace encounters comes in the form of an alien named Rocky, and he is a key example of Lord and Miller’s tactile approach. Rocky is brought to life by James Ortiz, who served as the puppeteer and voice for the loveable alien. The choice to use practical effects in place of digital effects as much as possible serves the film incredibly well, giving Rocky a presence that he might not have had otherwise. The weight and movements of the real-life puppet are palpable, and it can’t be overstated how much Gosling’s performance is elevated by Lord and Miller’s decision to have him share scenes with a tangible character rather than a green-screened object.

The chemistry between Grace and Rocky is the true heart of the film. They both are in need of connection, and they find it in each other in the most heartwarming of ways. Gosling, Ortiz, the filmmakers, and screenwriter Drew Goddard craft a truly memorable on-screen friendship between human and alien – the likes of which hasn’t been done this well since “E.T.”

As it pertains to Gosling’s performance, it is outstanding. He is asked to carry the film from the first frame to the last, and he does so with profound heart, humor, and emotion. With the film largely – if not entirely – on his shoulders, Gosling carries it to the finish line by perfecting a character that is as interesting as he is captivating. If he hadn’t already, Gosling cements himself as one of the most purely enjoyable screen presences in recent memory, sitting firmly in a dwindling club of actors who are true movie stars in an era that doesn’t prioritize them. 

Cinematographer Greig Fraser, notorious for his astonishing effort behind the camera in the recent “Dune” films, as well as “The Batman,” continues his exceptional work with “Project Hail Mary.” Outer space has been shot countless times in the history of film, yet somehow Fraser finds a way to make it fresh. The way in which the spacecrafts glide through space is a marvel to see on the screen, and Fraser portrays it with fascinating innovation. 

My only real complaint came in the final 15 minutes, where the film seemed entirely unsure of where to end. In that time, the film appears to conclude multiple times, only to be awkwardly followed by another scene that feels somewhat tacked on. Though it didn’t take much away from the overwhelming joy that I felt throughout the majority of the runtime, it added a disjointed quality to the finale, making for a clunky transition into the closing credits. 

The best compliment that I can ultimately give “Project Hail Mary” is that it feels like a product of a lost time. A blockbuster that has a little something for everyone, that wears its heart on its sleeve, and is made with immense care and passion. It feels in the same vein as the type of cinematic experience that Steven Spielberg perfected in the 80s and 90s. Movies like this must not be taken for granted. They should be celebrated, appreciated, and seen on the biggest screen possible.