Project Hail Mary (2026)

If you don't know what to expect from Project Hail Mary then you've never watched any other movie that presents the fate of the entire world resting on one smart individual who has to dig deep into reserves of courage that they never even knew they had. You've also never watched The Martian, the previous sci-fi blockbuster success adapted from source material by writer Andy Weir. That film also shared the talent of Drew Goddard, deftly working to ensure that the film maintained a fine balance between the science and the entertainment.

Phil Lord and Christopher Miller direct this particular tale, and it's all about a teacher, Ryland Grace (Ryan Gosling), who ends up a hell of a long way from his home planet. Not prepared for any kind of space mission, as we learn from seeing his present learning curve and numerous flashbacks that show how he ended up there, Grace nonetheless wants to succeed in a mission that could hopefully stop Earth from losing the sun. That's all you need to know. Grace is on his own, he seems ill-suited to the role, but maybe he can be helped on to the greatness that others already know lies within him.

While this works best if you go into it knowing as little as possible, I suspect that ship has sailed. The trailer gives too much away, and promotion of the film has decided to lean into certain aspects that would have been better kept hidden away for viewers to enjoy while watching the film. I'm not going to add to all of that noise though, which may hamper me slightly. You're just going to have to trust me when I say that Project Hail Mary is, very much like The Martian, a science fiction movie that uses a science-heavy premise to tell a story that's all about humanity and heart.

Lord and Miller are a fine choice for the direction here, comfortable with material that allows for a surprising, but not unwelcome, amount of comedy. This is material that needs to keep that light touch, considering what is at stake and the journey that our lead character is on, both literally and metaphorically, and Lord and Miller make very good use of a sharp screenplay and winning performances to ensure that most people should be entertained and amused without ever feeling as if they're watching an outright comedy.

Gosling hasn't been able to do any wrong throughout most of his film career, and he continues that streak here. He's perfect as the smart teacher who eventually becomes a reluctant potential hero after resisting his fate in the strongest way he can. Sandra Hüller is also fantastic, playing someone who is in charge of the mission that she knows will cost a few lives in exchange for saving the population of Earth. She's tough, but not without empathy and understanding for those who may often be a step or two behind her while she looks at the big picture. Lionel Boyce has his best movie role yet, and one that I hope serves as a stepping stone for him as he looks to capitalise on the goodwill afforded to him thanks to his outstanding work in The Bear. Ken Leung and Milana Vayntrub do well in very small roles, but the other cast member who needs singled out for praise is James Ortiz, giving a delightful vocal performance that is as essential to the film as any of the visuals.

I wish the score from Daniel Pemberton had a bit more oomph to it at times (yes, that is the technical term), and the cinematography from Greig Fraser is often dictated by some major environmental factors that stop the imagery from being as clear and impressive as I sometimes wanted it to be, but those are minor nitpicks in a film that reminds you of how great it is when you can enjoy a blockbuster that can appeal to the majority of cinema audiences without feeling too dumb or patronising. And I may even change my mind on these issues when I get to revisit the film in the comfort of my own home.

9/10

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Anatomy Of A Fall (2023)

In an ideal world, Sandra Hüller would have swept numerous awards throughout the cycle of this current season. Not to take away anything from the other great actresses in contention, but Hüller has been a shining star in two incredible films recently, with both this and Zone Of Interest. And it's difficult to pick one performance from the two that would be a clear favourite, although her turn here feels a bit more nuanced and allows her to command the screen a bit more.

Although the title is Anatomy Of A Fall, this really turns into an anatomy of a relationship. Hüller plays Sandra Voyter, a woman who finds her life put under an unflattering microscope after the death of her husband. Did he fall, or was he pushed? Without anything here overtly telling viewers if Voyter is innocent or guilty, the film forces viewers to question themselves as/if they constantly question her integrity and character.

Having been a fan of director Justine Triet for a number of years now, who also once again shares the writing duties with Arthur Harari, this feels like an impressive career high (for now, it would be great to see Triet continue making films at the same height of this magnificent plateau). Part character study, even larger part exploration of the highs and lows of relationships, I envy anyone who can watch this and not feel even the smallest amount of worry about any of their own conversations and arguments being read out in a courtroom without the context of everyday life around it (as is happening to our lead). The need to grasp for specific phrases in specific languages, Voyter speaks English, French, and German, underlines the gaps that can often lie between our inner thoughts and how things are effectively conveyed to others.

It feels redundant to heap more praise upon Hüller at this point, after my first paragraph echoing what so many have already said about her in the past year, and for some time beforehand. Her performance is absolutely perfect throughout, and her screen presence is so riveting that the film often feels like a one-woman play. This is despite a number of excellent supporting players, including both a child actor (Milo Machado-Graner, playing Sandra's son, Daniel) and a very well-trained dog (Snopp, played by a border collie named Messi).

Working on both an emotional and cerebral level, although the poise and calm, for the most part, of the main character, may have people thinking otherwise, Anatomy Of A Fall shows someone being judged by people who can't ever know every nuance and moment of the life being dissected. And, by extension, it reminds us of how little we know about everyone we may judge or view in certain ways without having anywhere close to a full picture of them. The more I think about it, the more I love it. Despite the 151-minute runtime, it's one that I know I could easily rewatch any time.

10/10

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The Zone Of Interest (2023)

If you want to go to the cinema and enjoy a fun bit of escapism then I don’t recommend rushing to see The Zone Of Interest. Director Jonathan Glazer doesn’t tend to deliver feelgood films. He does deliver greatness though, and I believe you could make a case for every one of his films to be considered a modern masterpiece.

In case you have missed any conversation about this one, The Zone Of Interest is the film all about Auschwitz that doesn’t ever show us the horrors inside the camp. We spend most of our time watching the house situated right beside the camp, the residence of camp commandant Rudolf Höss (Christian Friedel), his wife (Hedwig, played by Sandra Hüller), and their young children. There are some other areas shown (an office and a basement “washroom” are used for one or two memorable moments), but the crux of the film is the idyllic family home juxtaposed against what we know is going on in Auschwitz.

We all know that Nazis were bad. We should all know that Nazis are still bad. I firmly believe in the “it’s always okay to punch a Nazi” adage, and I am constantly bewildered by people who try to use the freedom of speech argument to defend hatespeech and scapegoating a whole demographic to help turn everyone else against them. If you are reading this review, I assume we agree. So I can understand people rolling their eyes and sighing as they wondered why we even need this film. Well, I think it does a great job of highlighting just how evil deeds are normalised, and how a holocaust is propped up by the many people who decided to do nothing, either through ignorance, misplaced faith in others doing the right thing, or self-preservation.

Although both Friedel and Hüller are both excellent in their roles, with the latter having the kind of year, between this and Anatomy Of A Fall, that should take her career stratospheric, their performances are boosted by the location, and the atmosphere of dread and terror creeping around the edge of every frame. Whether it’s a shot of smoking chimneys or the top of a train arriving at the concentration camp, or even the constant soundtrack of muffled cries and pain, this is a film that knows the main character is Auschwitz itself, one of the most heinous places to have ever been constructed.

Glazer, adapting the novel by Martin Amis, knows exactly how to treat the material. The apparent banality of everything onscreen just makes you feel worse about what is going on “behind the scenes”, and some of the conversations, whether they are about increasing the efficiency of the death machine, being recognised for a job well done, or sorting through clothing, pack the kind of punch that may leave some viewers feeling slightly winded.

There’s a lot more I could say about this, despite struggling to find the right words and trying not to repeat myself too much, but I think the viewing experience speaks for itself. It would be good to think that we have learned from history, but a brief glance at the latest news headlines has me doubting that. Ah well, at least I have been reminded of my own willingness to punch Nazis. So maybe there is a bit of a feelgood factor to the film after all.

9/10

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Mubi Monday: Sibyl (2019)

Virginie Efira plays Sybil, a psychotherapist who decides that she wants to pursue her love of writing. She drops all of her patients, hoping to give her full time and attention to her craft, but is then called by Margot (Adèle Exarchopoulos). Margot is a young actress who has had an affair with her latest co-star, Igor (Gaspard Ulliel), a man who happens to be the husband of the director, Mika (Sandra Hüller). Not only has she had that affair, Margot is also pregnant, which means she is contemplating an abortion when she first talks to Sybil. Drawn into this complex and dramatic situation, Sybil starts to incorporate elements of Margot's life into her writing, and she also allows herself the opportunity to creep into a very different world, one in which the line between reality and fiction is as blurred as her own view of the world around her.

A fascinating look at some very interesting ideas, Sybil marries a great script, co-written by director Justine Triet and Arthur Hararai, with a cast all very much capable of doing their best in the roles they have been given. What could have been filtered a number of different ways, the same material could have been a standard melodrama or even a glossy psycho-thriller, has been crafted into a near-flawless character study that has characters often so confused with their own choices and mindsets that viewers take an extra step or two to realise when things are sliding horribly, and inexorably, in the wrong direction for them.

Triet directs with an approach that brings viewers as close as possible to the two main leads (Efira and Exarchopoulos) and has us wanting to protect them from themselves, whether the pain comes from their own actions or the reactions of others. The moments of fantasy feel very easily identified during the earlier scenes, but it becomes harder and harder to figure out what is real and what isn't as we get closer to the very end of the film.

Efira is excellent, as authoritative and poised as she needs to be for many scenes before slowly and surely losing some control, and Exarchopoulos is equally good, portraying someone more naive and more used to delving in and out of scenarios that are complete fantasy. Ulliel does fine in his role, although his role ensures that he's the one main character who is easiest to dislike, or at least not care about, and Hüller excels as the angry director/hurt woman who is in some ways working opposite Sybil for the ability to ultimately control Margot for a short space of time. There are some other people around this selection of characters, and everyone does a good job in their roles, but it's this quartet that remains the focus throughout.

Never shying away from the many feelings that are brought to the surface by the strange circumstances, Sybil manages to be thought-provoking, tense, funny, and erotic, sometimes all at once, and it's a film that makes me want to further explore the careers of everyone involved. And anyone else feeling the same way could do a lot worse than a previous team-up of the director and star, In Bed With Victoria.

9/10

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