Project Hail Mary

Directors: Phil Lord and Christopher Miller
Starring: Ryan Gosling, Sandra Hüller, James Ortiz, Lionel Boyce, Ken Leung, Milana Vayntrub, Priya Kansara, Malachi Kirby, Liz Kingsman
Running Time: 156 min.
Rating: PG-13

★★★ (out of ★★★★)  

Sometimes the most gripping stories involve a character waking up in an unfamiliar location with no idea of their identity or how they got there. Phil Lord and Chris Miller's exhilarating sci-fi space epic Project Hail Mary is one of those. A stirring adventure all audiences can embrace, it wouldn't have felt out of place among Spielberg's lineup of 80's hits, invoking a similar sense of wonder, excitement and awe. For a while though, we're kind of left wondering where it's headed, at least until it gets there and the pieces all eventually fall into place. 

Cleverly mixing science with fantasy and comedy, it approaches The Martian author Andy Weir's 2021 novel with a respect for viewers' patience that stands out among Hollywood's dumbing down of popular bestsellers. And regardless of how much or little the science holds up under closer scrutiny, it's accessible enough to believe in, especially during quietly introspective stretches dealing with the challenges facing this lone survivor of this secretive space mission. But what he hasn't figured out yet is that his toughest battle still lies ahead.     

It's 2032 and middle school science teacher and former molecular biologist Ryland Grace (Gosling) has awakened from an induced coma onboard a spacecraft light years from home. Suffering from amnesia, Grace eventually pieces together that he's a member of a three person crew, two of whom are dead, leaving him stranded alone on the ship. Flashbacks will reveal his recruitment by international task force head Eva Stratt (Sandra Hüller) to join her classified project studying a substance called "astrophage." Having already proliferating the Sun's surface, it's confirmed to cause a catastrophic cooling on Earth within thirty years.  

Dubbed "Project Hail Mary" for its long shot odds, Stratt's plan to combat this centers around a manned space flight to Tau Ceti, the closest star unaffected by the outbreak. Unfortunately, with only enough fuel for a one-way trip, Grace now unwillingly finds himself on a suicide mision. After discovering another ship containing a five legged alien rock he nicknames Rocky (voiced by James Ortiz), they communicate and become friends, working together to find a solution. But as plans go awry and humanity's future hangs in the balance, Grace is faced with a devastating choice. 

Glimpses into Grace's pre-flight life bring valuable context his current situation on the spacecraft since we haven't a clue how he wound up on it. Whether these flashbacks are intended for viewers or represent his memories gradually returning, a scraggly, confused Grace attempts to make sense of his surroundings. And in showing the energetic, enthusiastic science teacher who rides his bike to school out of necessity rather than choice, we see how the ex-biologist's world is turned upside down after he's approached by Stratt for help. As if he has any say in the matter. Grace is aided by Stratt's initially intimidating security specialist Carl (Lionel Boyce) as he attempts to breed astrophage fuel for the mission he'll be forced to partake in once complications arise. 

With Grace alone on this ship trying to make sense of his perilous situation, we're blown away by Daniel Pemberton's cosmically eclectic, synth heavy score and cinematographer Greig Fraser's astounding visuals, both of which harmoniously co-exist in a film unafraid of wearing many influences on its sleeve. Once Rocky arrives, Drew Goddard's script really soars, with Grace realizing this alien life form (brought to life by mostly practical effects) is in a dire situation not so different from his own, having lost everything and everyone. 

That the impending threat to Earth is gradual rather than immediate complicates matters, making it harder to blame an ordinary citizen for refusing to sacrifice themselves for a mass casualty event thirty years down the line. Stratt may have picked Grace for his expertise, but also on a judgmental assumption he has nothing to lose. The ethical implications of that are intriguing, especially considering how he ends up on this spacecraft and comes to terms with how important his role truly is. Hüller's turn is complex enough that Stratt could be read as a cold, heartless bureaucrat or rebellious rogue who leads Grace to discover his life's purpose, as duplicitous as her methods are. Or maybe she's a bit of both, as her memorable karaoke scene hints. 

Despite some long lulls in the action, the film reaches its apex when Grace and Rocky join forces and form their bond, gradually morphing this into a moving tale of companionship and sacrifice that doubles as a great buddy comedy. It also successfully provokes tears in viewers over a rock that's so much more, with Rocky drawing justifiable comparisons to Cast Away's Wilson or even 2001: A Space Odyssey's HAL 9000. Inevitably, Grace will have to choose between getting home or saving a friend in danger.   

Gosling's charismatic performance carries every minute, playing a different kind of reluctant hero who's brutally honest about his own faults, fears and deficiencies. How his character possesses so little interest in being a hero might qualify him as the best kind, whether he sees it or not. But after fully embracing what he's called on to do, it's a whole new ball game, culminating in a propulsive final hour more enthralling and immersive than we're used to seeing in most mainstream blockbusters.                    

Anatomy of a Fall

Director: Justine Triet
Starring: Sandra Hüller, Swann Arlaud, Milo Machado-Graner, Antoine Reinartz, Samuel Theis, Jehnny Beth, Camille Rutherford
Running Time: 152 min.
Rating: R

★★★ ½ (out of ★★★★)

The most important piece of information to know before watching Justine Triet's French legal drama, Anatomy of a Fall, is that eighty percent of it does actually take place inside a courtroom. And while this isn't something that typically occurs on screen, don't be fooled into thinking it's a talky stage play, as it deals with weighty, compelling issues that transcend what could have easily been a dry procedural. Hinging on a scenario common enough to falsely assume it's based on a true story, Triet and Arthur Harari's script, skillful editing and some memorable performances make it feel distinct.

Cerebrally constructed to make every small detail count, we hang on every word during a trial that leaves plenty of room for revelations, false assumptions and ethical questions. That so few moments strain credibility is impressive considering how far into the weeds this goes, examining the situation from multiple angles as our opinion of the protagonist's guilt or innocence shifts. It's what happens when lawyers, police and witnesses are overcome by their bias and a propensity to make broad, sweeping generalizations far outside the realms of law. Transfixing to follow, it highlights the flaws of a broken system that minimizes the chances of justice winning out. That we never truly know if it does just makes this more believable, leaving us to draw our own conclusions.

In an isolated mountain chalet in the French Alps, German novelist Sandra Voyter (Sandra Hüller) is being interviewed by a female student (Camille Rutherford) before she's interrupted by her husband Samuel (Samuel Theis), who's blasting music from the attic, forcing them to reschedule. But it's only a short time later when Sandra and Samuel's visually impaired 11-year-old son Daniel (Milo Machado-Graner) returns from a walk with guide dog Snoop (Messi) to discover his father laying dead in the snow in front of their house. 

As his spouse and the only person present at the time, suspicion immediately turns to Sandra, who contacts her friend and lawyer Vincent Renzi (Swann Arlaud) for counsel. With an autopsy revealing Samuel was struck in the head before his fall, prosecutors embrace the theory she pushed him over the balcony while Sandra's legal team mount a suicide defense. But as information about their volatile marriage comes out and Daniel gives conflicting accounts, a defiant Sandra endures an onslaught of evidence and damning personal attacks on the stand as she fights to clear her name.

With the precipitating fall occurring only minutes into the film, the remainder of its run time is donated to peeling back the layers of this relationship and the psychology driving these characters. In doing that, Triet infuses the trial with a propulsive energy that doesn't let up until the verdict comes in, which doesn't exactly provide the closure those most affected would anticipate. 

When Sandra informs lawyer Vincent she didn't do it, his pragmatic, matter-of-fact response confirms he's the right person for this job, as it's clear their friendship won't factor into how he represents her. Recognizing actual guilt or innocence is irrelevant when they step into that courtroom, he hones a strategy that hinges on the suicide theory, but mostly rests on Sandra remaining credible and composed under the pressure of cross-examination.

There's a performative aspect to the loose, freewheeling courtroom scenes that Triet compulsively captures, reaching beyond forensics when a surprising amount of circumstantial evidence comes to the forefront. And the overzealous prosecutor (well played by Antoine Reinartz) draws controversial conclusions with seemingly far-fetched scenarios that become less fanciful the more we gradually discover about this couple. 

The introduction of an audio recording and accompanying flashback changes the game, putting a new spin on Sandra and Samuel's tenuous union. Their problems look and feel real, born from an inability to reach any kind of compromise at the risk of either potentially losing the upper hand. Even language becomes a contentious issue in a partnership that was on shaky ground years before the fall, with both going through the motions for Daniel, who has a firmer grasp on reality than adults claiming to have his best interests in mind. 

Only when court monitor Marge (Jehnny Beth) is appointed to look after Daniel is he afforded any degree of protection by a system that browbeats an 11-year-old blind boy for misremembering details based on touch and sound. Bravely insisting to be in the courtroom through the lurid testimony, he astutely observes how hearing this might be his only chance at moving on.

Hüller's gut-wrenching, tension filled performance doesn't give a thing away, as there's nothing in Sandra's demeanor or actions that necessarily contradict or confirm anyone's worst suspicions. She's an enigma throughout, or at least until that absorbing flashback, which exposes a jealous Samuel as being more troubled and insecure than originally assumed. Hüller expertly straddles a thin line, with Sandra appearing remarkably steady, but prone to moments of complete emotional collapse when dealing with her son. 

As Daniel, Machado-Graner gives a quietly complex turn that's levels above any recent child performance. Torn between a losing a parent and possibly implicating the other, he's suddenly forced to take on a responsibility well beyond his years, but one he proves capable of handling. Any remaining illusions he had of his parents are shattered before he and his loyal dog eventually provide the biggest piece of this whole puzzle.

Draped in a sophisticated, thought provoking presentation, Triet depicts a kangaroo court where the accused are assumed guilty until proven otherwise. Due to the severity of charges and her reputation as a strong-willed, successful woman, the stakes seem higher as a morally questionable defendant faces an uphill battle against perception. 

Whether Sandra committed the crime is another discussion entirely, but one the film certainly doesn't shy away from when examining all psychological facets of this. Coming to an abrupt stop rather than a tidy end, Anatomy of a Fall leaves audiences pondering when the credits roll, contemplating the question of what a verdict even really means when the event itself leaves this much residual damage in its wake.