Project Hail Mary

I really loved the book Project Hail Mary by Andy Weir (I read it multiple times and passed it around to several family members) so I was excited when I heard about the movie adaptation.  I got to see it last night with my sister and nephew at a Thursday preview and it is my favorite movie of 2026 (so far).  Dr. Ryland Grace (Ryan Gosling) is a disgraced molecular biologist who now teaches middle school.  When a group of scientists discover that a microorganism they call astrophage is attacking all of the stars in the galaxy except for Tau Ceti and that this will cause a catastrophic cooling of the Earth within 30 years, he is approached by Eva Stratt (Sandra Huller), the leader of a global task force, to study it.  He finds a way to make it multiply and other scientists discover that it can be used as a powerful fuel.  A plan, dubbed Project Hail Mary, is formed to send a spacecraft powered by astrophage to Tau Ceti in order to discover how it has survived.  He wakes up from an induced coma aboard the ship without any memory of how he came to be there and is dismayed to discover that the other astronauts on board, Yao Li-Jie (Ken Leung) and Olesya Ilyukhina (Milana Vayntrub), are dead.  As his memories return, he feels inadequate but soon reaches Tau Ceti where he comes in contact with another spaceship from the planet Erid.  He eventually learns that the Eridian, who he names Rocky (James Ortiz as both voice and puppeteer), has also come to Tau Ceti for the same reason.  They realize that they must work together in order to save both of their homes.  I think this adaptation is very faithful to the book and I love the way that Rocky, the two ships, and the tunnel that is built to connect them are depicted because they are surprisingly similar to the images I had in my mind while reading.  Gosling is absolutely perfect as Grace and his performance features both humor and emotion (I laughed out loud and had tears in my eyes at various times) as he discovers the bravery he didn't know he possessed and a friendship he didn't know he needed.  The visual effects are stunning, especially the vibrant imagery used in all of the sequences in space, and I love that Rocky is portrayed using practical effects rather than CGI.  Finally, this has a stand-up-and-cheer message about cooperation and friendship that is incredibly heartwarming.  I loved it so much and I highly recommend it!

Utah Opera's The Elixir of Love

I opted out of seeing The Elixir of Love by Gaetano Donizetti that last time Utah Opera programmed it (I tend to prefer the tragedies) so I was excited for the opportunity at a matinee yesterday.  The production was incredibly charming and I thoroughly enjoyed myself!  A poor young man named Nemorino (Daniel O'Hearn) is hopelessly in love with Adina (Katrina Galka), the wealthy and capricious owner of an orange grove.  He declares his love to her but she is exasperated by his attentions and encourages Sergeant Belcore (Alexander Birch Elliott) when he and his soldiers come to the village.  The arrogant Belcore proposes and, when Adina does not refuse him, Nemorino falls into despair.  His hopes are reignited when Doctor Dulcamara (Daniel Belcher) and his assistant (Gemma Isaacson) arrive proclaiming that they have a cure for every ailment.  He asks for an elixir to make Adina fall in love with him and the assistant quickly creates one by adding orange juice to an old wine bottle.  Dulcamara tells him that it will take one day before it works to give himself time to leave the village before his fraud is discovered.  Nemorino is so confident the elixir will work he ignores Adina which, of course, gets her attention and she agrees to marry Belcore to make him jealous.  Mayhem ensues when Nemorino's wealthy uncle dies leaving him his fortune and all of the women in the village clamor for his attention.  Adina becomes jealous and, when she sheds a tear, Nemorino realizes that she loves him.  Dulcamara, believing his elixir to be a success, confesses to Adina what Nemorino has done and she finally realizes how much he loves her.  The libretto is so much fun and I loved seeing all of the hijinks on stage, especially when all of the women pursue Nemorino (everyone in the audience laughed out loud).  The music, performed beautifully by the Utah Symphony under the baton of Steven White, is delightful and the vocal performances from the entire cast are expressive and effervescent.  I especially loved Galka's lively performance of the aria, "Della crudele Isotta," which gives Nemorino the idea for an elixir of love, and O'Hearn's heartfelt interpretation of the famous aria, "Una furtiva lagrima," when Nemorino understands what Adina's tear means (I recognized this immediately but never knew what opera it came from).  This specific production was originally conceived by Minnesota Opera and changes the setting from a vineyard in Italy in the early 1800s to an orange grove in California in the early 1900s and, while I am not always a fan of doing this, I loved that the set features Mission-style architecture with a backdrop of orange trees and that the costumes feature World War I-era military uniforms.  I had so much fun watching this opera but, unfortunately, yesterday was the final performance.  However, I definitely recommend getting a ticket to the final opera of the year, La Traviata (go here).

Hadestown: Teen Edition at the SCERA Center for the Performing Arts

Last night I went to see a production of Hadestown: Teen Edition by Acting Up (a theatre company of high school students) at the SCERA Center for the Performing Arts. This is one of my very favorite musicals because it reimagines the mythology of Orpheus and Eurydice to expose what is wrong with the world, including climate change, poverty, and the exploitation of workers, while espousing the hope that the the world could be better through the power of love and art. The teens in Acting Up always do a phenomenal job and last night was no exception because I was blown away by the amazing talent on the stage! This production does not feature musicians playing live on stage but this allows for a large ensemble of over forty which is quite impressive. The choreography for the expanded ensemble is especially powerful in "Why We Build the Wall," because seeing a large group of workers marching in formation is intense, and in "Wait For Me (Reprise)," because they become a maze for Orpheus and Eurydice to walk through, a tunnel for them to walk under, and obstacles for them to climb over and it is incredibly dramatic. I also enjoyed the choreography for the male ensemble in "Our Lady of the Underground" because it is really athletic. Gage Gillette is outstanding as Orpheus (one of the best I've seen in this show) because the role requires a tremendous vocal range as well as vulnerability and, not only does he hit all of those high notes, he gives impassioned performances of "Come Home With Me" and  "If It's True" (I found it entirely plausible that he could sway all of the workers to his side). I was also impressed by his guitar playing in "Epic I," "Epic II," and Epic III." Emma Stewart has a beautiful voice and she brings a lot of pathos to her performance as Eurydice. My favorite songs in the show are "Any Way the Wind Blows" and "Flowers" and I loved her heartbreaking renditions (the latter brought tears to my eyes). Cedric Smith is a very compelling Hades because he has a rich baritone voice that is deceptively charming in "Hey, Little Songbird" but menacing in "Why We Build the Wall." Emma Pierson is a lot of fun to watch as Persephone because she is a great dancer and she can definitely sing the blues, especially in "Our Lady of the Underground." Her voice also blends really well with Smith's in "How Long?" My favorite performance was from William Madsen because he is a charismatic and appealing Hermes. He has a great voice and a captivating stage presence, particularly in "Road to Hell" and "Way Down Hadestown." I love the role the Fates (Katelynn Lee, Claire Moreira, and Lexi Williamson) play in the story and the three of them harmonize beautifully in "When the Chips Are Down" and "Doubt Comes In." The set features a brick mansion in an old New Orleans neighborhood with a wrought iron balcony on the top level and a large metal factory with train tracks that lead to a station on the bottom level (I think it is more elaborate than the Broadway production) and the costumes are very striking, especially all of the boiler suits worn by the workers. If you love this musical as much as I do, I highly recommend getting a ticket (go here) to this production because it is extremely well done. It runs at the SCERA Center for the Performing Arts on Mondays, Tuesdays, Thursdays, Fridays, and Saturdays through March 28.

Undertone

I was excited to see Undertone at a matinee yesterday because it got a lot of buzz at Sundance this year.  I found it to be incredibly unsettling!  Evangeline "Evy" Babig (Nina Kiri), the host of a popular podcast about paranormal activity with her friend Justin (Adam DiMarco), has moved back into her childhood home to care for her comatose mother (Michele Duquet) who is in the last stages of a terminal illness.  The old house is filled with religious iconography which unnerves Evy because she is an unbeliever.  Justin receives an anonymous email that includes ten audio files of a couple named Jessa (Keana Lyn Bastidas) and Mike (Jeff Yung) as they seemingly become possessed by a demon known for driving mothers to murder their own children.  They decide to record an episode for their podcast using the audio files with Evy as the skeptic and Justin as the believer.  However, as they listen, Evy begins to experience the same phenomena as the couple and she spirals into madness.  Kiri and Duquet are the only actors who appear on screen so most of what happens is depicted through sound.  It is incredibly immersive, and disturbing, because the audience hears what Evy hears and it is easy to believe that the sounds are coming from inside the house because of the way the dark and empty spaces are filmed.  There were many moments when I thought I saw something lurking in the shadows in response to something I heard.  It is one of the most atmospheric movies I have seen and the escalating dread is unbelievably intense.  What I loved most is that, unlike many recent horror movies, the ending is ambiguous (Evy could be possessed or she could be the victim of her own isolation, grief, and guilt) so the tension painstakingly created in the first two acts is not derailed by a tedious explanation in the third.  See this in a theater with the best sound capability possible!

The Secret Agent

The second movie in my double feature featuring the Academy Award nominees for Best Picture yesterday was The Secret Agent (click on the titles to read my commentaries for Bugonia, F1, Frankenstein, Hamnet, Marty Supreme, One Battle After Another, Sentimental Value, Sinners, and Train Dreams).  There is a lot to unpack but I found this to be absolutely riveting.  During the military dictatorship in Brazil in 1977,  Armando Solimoes (Wagner Moura) is a former science professor on the run from a phony corruption charge brought by Henrique Ghirotti (Luciano Chirolli), the head of a utilities company who is threatened by his research.  He arrives in Recife during Carnival to visit his son Fernando (Enzo Nunes) who lives with his maternal grandparents (Carlos Francisco and Aline Marta Maia) after the murder of his wife Fatima (Alice Carvalho).  He stays at a safe house for political dissidents run by Dona Sabastiana (Tania Maria), adopts the name Marcelo Alves, and is aided by a resistance leader named Anisio (Buda Lira) who inadvertently involves him with the corrupt chief of police Euclides (Roberio Diogenes).  He learns from another resistance leader named Elza (Maria Fernanda Candido) that Ghirotti has hired two hitmen, Augusto (Roney Villela) and Bobbi (Gabriel Leone), to kill him so he decides to flee with his son.  Mayhem ensues.  The action is nonlinear and there are a lot of characters to keep track of so I only had the vaguest notion of what was going on at any given time (it is definitely a slow burn with lots of colorful details specific to the time and place) but everything mostly comes together in the conclusion even if that conclusion is abrupt and a bit anticlimactic.  What I found most compelling is the portrayal of the sometimes absurd (the corrupt police chief is trying to cover up the discovery of a leg found in the body of a shark) and often cruel reality of living under a military dictatorship and the escalating tension surrounding Armando's uncertain fate is almost unbearable.  Moura's performance is captivating because he is playing multiple versions of himself in different timelines (he even plays the adult version of his son in present day) and the changes in characterization are subtle but powerful.  Finally, I loved the 1970s vibe in the costumes, production design, and soundtrack (the use of vintage camera equipment also adds to the period verisimilitude).  I have not been able to stop thinking about this and I highly recommend it!

Note:  Now that I have seen all of the nominees, I want Sinners to win Best Picture but I wouldn't mind if One Battle After the Other does.