Ryan Gosling's ‘Project Hail Mary' trailer breaks viewings record
Directed by Phil Lord and Christopher Miller (21 Jump Street, The Lego Movie), the film is based on the 2021 novel of the same name by Andy Weir (author of 'The Martian') and stars Gosling as Ryland Grace, a man who wakes up on a space station.
Snag is that he's not an astronaut. He's a science teacher with no recolection of what his mission is.
He slowly learns that he was sent into outer space to reverse the impact of a phenomena causing the sun to die out – something which recalls one of Danny Boyle's best films, Sunshine. However, he won't be searching for a solution on his own...
Check out the trailer below - which has already achieved more than 400 million views across various platforms, which is a record for an original movie (i.e. not a remake or sequel):
This sci-fi drama (with a comedic tone) also stars the great Sandra Hüller (Toni Erdmann, Anatomy of a Fall, The Zone of Interest) - check out our interview with Hüller here – and is set to be released in March 2026.
Both directors Lord and Miller both posted matching thank you messages on X: 'Holy Moly! Thank you all you glorious generous fans of movies / books / near light speed space travel / the Sun for pushing the trailer for Project Hail Mary past 400 million views – the most in one week for a non-sequel non-remake original film trailer… ever. Can't wait to thank some of you in person at San Diego Comic-Con in Hall H with our pals Ryan, Andy, and Drew (Goddard, screenwriter) ….and a few other surprises…'
Excited yet? We are.
Project Hail Mary hits theaters on 20 March 2026.
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Euronews
10-07-2025
- Euronews
Ryan Gosling's ‘Project Hail Mary' trailer breaks viewings record
Ryan Gosling's new sci-fi movie Project Hail Mary has broken trailer viewing records, gaining more than 400 million views since it was released online on 30 June. Directed by Phil Lord and Christopher Miller (21 Jump Street, The Lego Movie), the film is based on the 2021 novel of the same name by Andy Weir (author of 'The Martian') and stars Gosling as Ryland Grace, a man who wakes up on a space station. Snag is that he's not an astronaut. He's a science teacher with no recolection of what his mission is. He slowly learns that he was sent into outer space to reverse the impact of a phenomena causing the sun to die out – something which recalls one of Danny Boyle's best films, Sunshine. However, he won't be searching for a solution on his own... Check out the trailer below - which has already achieved more than 400 million views across various platforms, which is a record for an original movie (i.e. not a remake or sequel): This sci-fi drama (with a comedic tone) also stars the great Sandra Hüller (Toni Erdmann, Anatomy of a Fall, The Zone of Interest) - check out our interview with Hüller here – and is set to be released in March 2026. Both directors Lord and Miller both posted matching thank you messages on X: 'Holy Moly! Thank you all you glorious generous fans of movies / books / near light speed space travel / the Sun for pushing the trailer for Project Hail Mary past 400 million views – the most in one week for a non-sequel non-remake original film trailer… ever. Can't wait to thank some of you in person at San Diego Comic-Con in Hall H with our pals Ryan, Andy, and Drew (Goddard, screenwriter) ….and a few other surprises…' Excited yet? We are. Project Hail Mary hits theaters on 20 March 2026.
Euronews
15-11-2024
- Euronews
Euronews Culture's Film of the Week: 'Gladiator II' - Are you not entertained?
There was every reason to feel nervous about Gladiator II. Or more accurately, as the opening credits show us: Glad-II-ator. So please, let's start pronouncing this legacy sequel properly: 'Gladiiiiiiiiator'. If Josh Trank's doomed Fant4stic can't escape 'Fant-four-stick', there's no reason why this sequel to the Oscar-winning 2000 original gets a pass just because it's Ridley Scott behind the camera. GladIIator has some big sandals to fill, as even 24 years later, some of Gladiator 's epic speeches, thrilling battles and Zeus-tier score from composer Hans Zimmer still resonate. Plus, Scott is a very hit-or-miss director. For every Alien, Blade Runner, Gladiator and The Martian, there's a Kingdom of Heaven, A Good Year, whatever The Counselor was, and Napoleon. No bad word shall be said about House of Gucci – it's a camp masterpiece, and that's the end of it. Still, all eyes are on Scott's return to the colosseum sandbox, and the end result is difficult to dismiss but still hard to defend. Unlike the loopy sequel idea that was proposed by none other than Nick Cave, who envisaged following Maximus (Russell Crowe) battling his way out of the afterlife, GladIIator picks up 16 years after the death of our favourite commander of the Armies of the North, General of the Felix Legions and loyal servant to the TRUE emperor, Marcus Aurelius. The dream that was once Rome has been forgotten. The empire is on the verge of collapse, with not one but two sniveling and anemic-looking emperors at the helm – Geta (Joseph Quinn) and Caracalla (Fred Hechinger). Imagine Romulus and Remus, if Romulus and Remus were John Lydon-aping petulant pricks. Their tyrannical rule is defined by an unquenchable bloodlust when it comes to conquering countries. Enter a tanned and beefed-up Lucius Verus (Paul Mescal), Maximus' son, who came of age under the name Hanno. He vows vengeance against General Marcus Acacius (Pedro Pascal), who marshals a seaborn military campaign into the North African province of Numidia, which leads to the death of Lucius' wife Arishat (Yuval Gonen) and his capture. You can guess what happens next, as GladIIator is essentially a rehash of Gladiator 's script. Lucius is sold as a gladiator, having impressed Macrinus (Denzel Washington) - a slave owner and political schemer who has plans of his own when it comes to the future of Rome. Little does Lucius know, however, that Acacia is tired of the endless need for more territories and is secretly plotting a coup to end the reign of Geta and Caracalla. Not only that, but the general is married to his estranged mum, Lucilla (Connie Nielsen, reprising her role from the first film), who exiled her son from Rome after the events of the first film to protect him from the plotting mob. That makes Lucius the grandson of Marcus Aurelius, and therefore the rightful heir to the Roman empire... If the course of true love never did run smooth, the path to revenge isn't much more polished. Let's get the obligatory question out of the way: 'Are you not entertained?' Yes, GladIIator is well-made and entertaining. Who wouldn't be distracted by gladiators facing off against a horde of baboons in berserker mode, a lumbering rhino, and a shark-infested colosseum? However, this belated follow-up doesn't reach the heights of its predecessor and will most definitely not 'echo in eternity.' The bulk of the blame resides at screenwriter David Scarpa's doorstep. The scribe, who wrote Scott's All the Money in the World and last year's Napoleon, makes this an unnecessary continuation. Long gone are the epic speeches ('Where death is, we are not' pales compared to David Franzoni, William Nicholson and John Logan's 'Death smiles at us all, all a man can do is smile back') and the emotional heft of Gladiator is lacking. This sequel is all too happy to coast on nostalgic callbacks instead of carving out its own place in history. (Mild spoiler ahead) It can't even fashion an ending of its own, preferring instead to give us yet another flashback. (Mild spoiler over) The all-too-familiar beats are equaled by bafflingly pacing. Putting aside some very questionable CGI, the much-lamented absence of Zimmer on composing duties, some glaring historical accuracies and the fact that both Quinn and Hechinger can't equal Joaquin Phoenix's Commodus, there's little here for the audience to grapple with. When it comes to the action, the well-designed set pieces can't make up for the fact that there's absolutely no build-up or sustained tension here. As soon as the games begin, the battles are frustratingly dispatched in a flash. As for the emotional stakes, they are rushed at best, leaving no motivational or sentimental weight. This results in the muscular Mescal having to do his level best with precious little. Granted, he's a succulent beefcake, no one can take that away from him; however, the actor can't wring out anything but flattened emotions, and nothing approaching a rousing call to arms. Scott seems to have retained that what people enjoyed from Gladiator were the fight scenes, when in reality, combat was only memorable because the viewer cared about Maximus' betrayal, his hurt, and his passionate quest for revenge. In GladIIator, nothing is explored with any depth and rivalries lack consistency. Suddenly, all is forgiven between Lucius and Acacia, and the knotty resentment he harboured when it comes to his mother evaporates. She ends up getting a nice hug from her long-lost boy in a prison cell before yet another bewilderingly anticlimactic showdown. The only element that truly works is Denzel Washington. The actor relishes every line, knowing when to go Shakespearian and when to camp it up. An Oscar-worthy performance? Maybe not, but then again, he does make the whole show stay afloat - more so than some of the boats in the arena. While visually engaging, GladIIator is a curiously hollow film that banks on big spectacle and small emotions, completely failing to step out of Gladiator 's shadow. Did Scott even want to? It shows that the director needed more than two decades to stick this landing. Either that or he should have left the original alone. In this sense, this sequel joins George Miller's Furiosa: diverting, but equally unnecessary. This is what you get when a director and his screenwriter are content with dialing everything up to 11 (except the emotion) and wallow in past glories instead of forging a new and dramatically satisfying narrative arc. 'Strength and honour'? More diluted bis repetita.
Euronews
22-10-2024
- Euronews
Why are ‘Blade Runner 2049' producers suing Elon Musk?
'Imitation is the sincerest form of flattery that mediocrity can pay to greatness.' Timeless words from Oscar Wilde, who would doubtlessly be chuckling away to himself had he had the misfortune of meeting Elon Musk. Last week, Musk drew the ire of Alex Proyas, the director of the 2004 sci-fi film I, Robot, who accused the businessman-turned-troll of copying his designs for humanoid machines and self-driving vehicles. "Hey Elon, can I have my designs back please," Proyas wrote in a post on X which has been viewed more than eight million times at the time of writing. Now, it seems that Musk has been stealing some of his ideas from another Hollywood blockbuster: Blade Runner 2049, the sequel to the 1982 classic Blade Runner, which portrays a dystopian future featuring autonomous vehicles powered by AI. The production company behind Denis Villeneuve's Blade Runner 2049 filed a lawsuit Monday against Musk, Tesla and Warner Bros. Discovery, accusing them of copyright infringement while promoting a new self-driving car. In its lawsuit, Alcon Entertainment says Musk used AI-generated imagery mirroring scenes from its 2017 sci-fi film while presenting Tesla's new autonomous Robotaxi at a marketing event earlier this month. And the snag is that producers had denied his request to do so. 'He did it anyway,' the suit alleges, adding that the company do not want to be linked to Musk or his companies. "Any prudent brand considering any Tesla partnership has to take Musk's massively amplified, highly politicised, capricious and arbitrary behaviour, which sometimes veers into hate speech, into account," it added. Indeed, the billionaire founder of Tesla and owner of X has endorsed Donald Trump, committed at least $70 million (€64,5m) to help Trump get back to the White House, has appeared alongside him at a rally this month, and has even pledged to give away $1 million (approx. €921,000) a day to voters who sign his political action committee's petition – in what some feel is election interference. What happened? On 10 October, Musk launched Tesla's fully autonomous Robotaxi on the Warner Bros. Discovery lot in Burbank, California. During Musk's globally livestreamed presentation, a scene featured AI-generated footage of a man in a long trench coat exploring the ruins of Las Vegas. The suit alleges that this is directly ripped from a scene in Blade Runner 2049 featuring actor Ryan Gosling. The day before the launch, Warner Bros. Discovery had contacted Alcon to request the use of clips from Blade Runner 2049 for Tesla's presentation. Alcon Co-CEO Andrew Kosove and Broderick Johnson 'refused WBD's request, objecting to their film being affiliated in any way with Tesla, Musk or any Musk-owned company,' according to the company. That did not stop Musk. The suit alleges that it "exuded an odor of thinly contrived excuse to link Tesla's cybercab to strong Hollywood brands at a time when Tesla and Musk are on the outs with Hollywood." Musk even referenced the film when giving his remarks: 'You know, I love 'Blade Runner,' but I don't know if we want that future. I believe we want that duster he's wearing, but not the bleak apocalypse.' Alcon Entertainment believe this unauthorised association is harmful to their business and their suit seeks an injunction blocking Musk, Tesla, WBD and 'anyone working in concert with them from further copying, displaying, distributing, selling or offering to sell 'BR2049' or protectible elements thereof in connection with Tesla or Musk, or making derivative works thereof for such purposes.' The monetary damages are unspecified. However, 'the financial magnitude of the misappropriation here was substantial,' the lawsuit says. 'Alcon has spent decades and hundreds of millions of dollars building the 'BR2049' brand into the famous mark that it now is. Prior actual 'BR2049' contracts linking automotive brands to the Picture have had dollar price tags in the eight figures.'
