Directed with precision and surprising emotional steadiness by Phil Lord and Christopher Miller (21 Jump Street, The Lego Movie), and shot by Oscar-winning cinematographer Greig Fraser (Dune), Project Hail Mary understands scale but refuses to hide behind it. Yes, this adaptation of the Andy Weir novel of the same name is visually stunning, and the visual effects are seamless, expansive, and essential. But what’s bold is how little the film leans on spectacle for impact as the visuals are just as capable of framing smaller and more fragile subjects.

This includes the protagonist science teacher Ryland Grace (Ryan Gosling), who wakes up alone on a spacecraft, light years from Earth, with no memory of who he is or how he got there. As his memory slowly returns, so does the reality of his mission: to prevent an extinction-level crisis threatening the sun itself and everything that depends on it. The catch is that he may not be alone.

Directed with precision and surprising emotional steadiness by Phil Lord and Christopher Miller (21 Jump Street, The Lego Movie), and shot by Oscar-winning cinematographer Greig Fraser (Dune), Project Hail Mary understands scale but refuses to hide behind it. Yes, this adaptation of the Andy Weir novel of the same name is visually stunning, and the visual effects are seamless, expansive, and essential. But what’s bold is how little the film leans on spectacle for impact as the visuals are just as capable of framing smaller and more fragile subjects.

This includes the protagonist science teacher Ryland Grace (Ryan Gosling), who wakes up alone on a spacecraft, light years from Earth, with no memory of who he is or how he got there. As his memory slowly returns, so does the reality of his mission: to prevent an extinction-level crisis threatening the sun itself and everything that depends on it. The catch is that he may not be alone.