It struck me as a funny, lighthearted version of 2001, adapted for all ages, sure to draw laughs and tears from just about everyone. Unlike 2001, and more than Close Encounters, however, Project Hail Mary is eminently marketable: it checks all the boxes, and it has something for everybody. After a rousing round of pickleball a few weeks ago, a dear and very Catholic friend told me she had seen the movie with some girlfriends and loved it. “Is it about Our Lady?” I asked her. No. “Is it about Notre Dame football?” No. “It’s a funny doomsday space movie,” she told me, “but I won’t tell you anything more. No sex, no violence, no blasphemy, no vulgarity. You should see it.” So last week, a bunch of us priest buddies were on break and this movie came up. Bishop Barron had given Project Hail Mary a positive review, and what better choice for a bunch of priests than a movie named after the Mother of God?
If is a fun and funny movie, and somewhat thought provoking, and I too recommend it, but with this caveat: it is a commercial product more than an inspired work of art. Most movies are these days. It is as if AI wrote the script to include every possible identity group, assuring the widest possible viewership. I’ve no doubt the entertainment industry relies on finely-tuned algorithms to determine maximum ticket sales. Movie scripts must check every possible box for every possible sensitivity, and this somewhat flattens the landscape.
What boxes am I talking about? Well, Google’s Gemini will tell us how religion is experiencing something of a worldwide revival (numbers of new Catholics are doubling every year in many dioceses, and most people are allowed again to mention the word “God” in public). So the biggest box that this movie checks is the “religion” box. The Catholic faith, in particular, is obviously reflected in the movie’s title, but also the hero’s name (“Grace”) and his decision to sacrifice himself to save the world makes Christians feel good. The character of Eva Stratt, a European scientist, even functions as the New Eve, Mother Mary, in interceding with a reluctant Dr. Grace to sacrifice himself for the people. She it is who says flat out that she believes in God because the alternative is too terrible to contemplate.
But lots of other boxes get checked, boxes that don’t normally bed down with religion, although these other identify groups are satisfied in such subtle ways as not to upset religious customers. The Transgender Box is deftly checked when Grace asks Rocky about his “partner” with the nonbinary pronoun “their” (which is grammatically incorrect in English but grammatically required in transgenderese). The Climate Box is checked with the impending annihilation of life on earth, but the anti-Climate Box is checked with this annihilation coming not through global warming but through global cooling. The Black and Asian and White boxes are checked, of course, with the regulation Black, Asian, and European characters, and the globalist box is checked because a Dutch/German woman European Space Agency scientist coordinates a multinational effort to save the planet. The technology box and the transhuman boxes both get checked with the ship’s android AI computer that attempts to shave Dr. Grace’s beard and do other little nice things for him (Grace responds to this computer/robot with a pet name, but I can’t remember what he calls “her!”). I may be overstating the political aspects of this film, seeing market-driven motivations where there are none; I grant that I may be a bit paranoid when it comes to any commercial product in our highly politicized culture.
Almost everyone will leave the movie theatre feeling good and not feeling too bad about anything. Each customer is mostly satisfied, and what might disturb us is put in such subtle tones that only the targeted identity group will pick up its own particular signals. In that sense, the movie is a masterpiece, and it’s also fun to watch. I’m not sure that it’s as visionary and inspiring, however, as artistic works not so tightly governed by the market.

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