Cert - 12, Run-time - 2 hours 36 minutes.

Directors - Phil Lord, Chris Miller.

Waking up in space on a Hail Mary mission, science teacher Ryland Grace (Ryan Gosling) teams up with a rock-like alien (James Ortiz) to save both their worlds from star-eating cells.

It's been 12 years since Phil Lord and Chris Miller's last feature directorial credit (with TV work and what could have been their version of Solo in-between, alongside writing and producing credits, including on the Spider-Verse films). Their return behind the camera comes with plenty of visual style in front. A chamber of endless buttons and switches brings a sea of light to wash over the concerned face of Ryan Gosling's science-teacher-turned-astronaut Ryland Grace.

Waking up from an induced coma, he's alone in space on a mission he doesn't remember, flashbacks reveal it's to save Earth from star-eating cells consuming the sun. Stranded, his ship shows the confining yet endless nature of space. Even once he stumbles across a ship housing a small, rock-like alien which he names Rocky (voiced by puppeteer James Ortiz), on a similar mission from his own world.

Gosling balances existential fear and weighty responsibility (calling back to more dramatic work of years gone by) with the buddy comedy with his alien friend. Lord and Miller get a kick out of this in Drew Goddard's screenplay, adapting Andy Weir's novel of the same name, leaning into the humour when it arises whilst understanding their central figure's isolation. Capturing a stronger emotional aspect and sense of isolation than previous Weir adaptation The Martian (which had more viewpoint from Earth with the 'Bring him home' effort).

In flashbacks, featuring Sandra Hüller riding both sides of dead-pan as project lead Eva Stratt, labs and aircraft carrier boardrooms contrast with the vastness of the galaxy, especially in scope and colour. Charles Wood and his production design team have gone all out with every penny of their budget; pushed by the visual effects team and cinematographer Greig Fraser.

The space sequences in particular are utterly immersive and made for the big screen, with Daniel Pemberton's wonderful score tackling the wonder tinged with isolation. Instances of ships rotating, almost swirling, as they float in a sea of nothingness - calling back to 2001 - or the rainbow of light cast by nearby planets; the third act is full of both this and tension, are spectacles of wonderment. Reminders of traditional sci-fi joy and immersion mixed with the human story - the film also features elements of visual effects supervisor Douglas Trumbull's directorial debut Silent Running. As a technical piece there's hope that Project Hail Mary will be remembered come next year's awards season.

As a whole there's no denying its enthralling nature. Its view of isolation while still bringing an easy wit in naturally-placed gags and comments. An entertaining spectacle of uncertainty, isolation and companionship. There's a warmth to the film which slips into many scenes, particularly those which see Grace and Rocky succeeding in their attempt to save the stars. It adds to the mission's drive and the tension we feel for it, and them. All in the traditional-feeling endless confinement of space.

Four stars