The Huckleberries Vol. 13 - Project Hail Mary & OBEX

     Obviously we want to have an area for reviewing new films here at The Film Encomium, but we want to send a message with our methodology. That message is a simple one: Don’t forget about the fun. 

Yes, film can be transformative, prophetic, and groundbreaking. It can also be none of those things and still be a damn good time, and we want to validate both of those experiences. If you want to study the path of visual effects in the realm of science-fiction, we recommend the works of Georges Méliès; but if you want to become well-rounded, you should still familiarize yourself with David Lynch’s full catalogue. 

It is from the balance of Tom Sawyer and Huck Finn that we draw inspiration for the title of this section. Tom is clever; Tom is great. If there were one of those boys we were going to try to get into Harvard, it would be young Mr. Sawyer…but he will always need his Huckleberry. 

We all need our Huckleberries. Art needs its Huckleberries. Sometimes beauty is in the little things and reasoned reflection. Other times beauty is loud, bright, and bold. In the interest of providing our readers with a comprehensive experience, we are not willing to skip The Huckleberries. 

So, with that in mind, here are two enthralling flicks that dropped in theaters recently. The first will explore the very furthest reaches of the potential of sci-fi cinema—with the assistance of considerable financial backing. The second will attempt precisely the same endeavor on a shoestring budget. Enjoy!

Project Hail Mary -

It isn’t often that you walk out of a theater knowing you’ve seen something as special as what Project Hail Mary gives us. This is the type of moviegoing encounter that makes the audience feel as if it had already been in their rotation of most beloved films for their whole life. The curtain closes on 156 minutes of epic interstellar adventuring, and the only thing anyone in the theater wants to do is go out and snag another ticket for the next showing. Such an experience does not come along often, and it is best shared with loved ones when it does.

A good many films present themselves as “Fun for the whole family!” but it has been a long while since the work exemplified that claim so thoroughly. Everyone older than a toddler but younger than the grave will find so much to love in this production. It succeeds on both the subtle and bold aspects of filmmaking, and nearly every moment brings something unexpected and intriguing with it. 

Up until this point, the directorial duo of Phil Lord and Christopher Miller has—up until this point—reached their apex in the medium of animation. Not that the 21 Jump Street reboot lacked the ability to spark joy, but they were the creative power behind two of the most underrated animated adaptations in recent memory in Cloudy with a Chance of Meatballs and The Lego Movie. Still, it’s hard to argue that they have ever found their stride more than they have in the silver screen construction of this Andy Weir novel. 

The supporting cast puts in some really great performances—led by German acting legend Sandra Hüller—but they are all really operating in orbit of the principal dynamic here. At the core of this tour de force is the relationship between Ryan Gosling’s Dr. Grace and James Ortiz as Rocky. Gosling taps into a deeply emotional and broken place that is equal parts relatable and resonating; whereas Rocky is one of the greatest triumphs in film history when it comes to combining VFX and practical effects into a lovable and brilliant creature. 

Some of the smaller choices this film makes—such as the subtle switch between different aspect ratios when a scene is based in space versus on earth—are really what catapult this end product into the positively unforgettable stratosphere. It keeps moving in innovative ways that keep us on our toes, but never moves so fast that you escape the constant waves of varying emotions. There is no portion of the creative process that is not excelled at in this journey through the cosmos. See it as soon as you can, on as large a screen as you can find. 

OBEX -

One of the most absurd and audacious forays into lo-fi sci-fi, OBEX is as difficult to define as it is to look away from. The brainchild of Albert Birney and his frequent collaborator Pete Ohs, this film draws you in almost against your will—much like the titular computer game that operates as a primary antagonist. Birney and Ohs both got their starts directing music videos, but with subversive flicks like Strawberry Mansion and Everything Beautiful Is Far Away they are well on their way to being formidable forces in feature filmmaking, with this production being the next big step down that road. 

With both the sole directing credit and a dominant presence as the lead role, Birney is clearly the star of this particular piece. Like so many great films, at the heart of this story is nothing more than a man and his dog. Birney’s character, Conor Marsh, is a secluded man who doesn’t seem to have any direct interaction with other human beings. He gets his groceries delivered by a young woman named Mary, but his hang ups keep us from even seeing her in a real world setting. 

Needless to say, Conor has a bit closer of a connection than normal to his dog Sandy, played by Dorothy. So, when a strange new computer game he orders seems to take Sandy hostage, Conor is driven to bizarre yet understandable lengths to rescue her. It is on the other side of the digital curtain that this movie really begins to shine brightest. Saturated in almost folk-horror vibes, they find a way to present a combination of worlds here that clash together in ways that feel simultaneously familiar and alien, retro yet futuristic. 

What OBEX really brings to the table is everything it doesn’t say. It is a reflection on mental health and technological dependency, but it doesn’t need to slow down and explain that to the audience. It’s a simple quest to protect what one loves, and as so often happens when you fight for what you believe in, nothing can ever go back to the way it was before. Give in to the magic, and you may just find yourself changed for the better yourself. 

~The Film Encomium~