Seven-time Oscar nominee Richard Burton continues to have an intriguing afterlife, four decades following his death. At this year’s BAFTA awards, a movie about his early life, Mr. Burton, earned a nomination for best British Film. Mr. Burton, directed by Marc Evans, was also one of the audience favorite films at January’s Palm Springs International Film Festival. It opens in theaters this week and, aided by a strong cast, should appeal even to audiences who have fuzzy recollections of the once notorious actor.

The film begins with a quotation from Elizabeth Taylor (who married Burton twice after a scandalous, heavily publicized affair that began during the shooting of Cleopatra in 1962). In it, Taylor states that Richard never would have found fame and fortune without the efforts of his adoptive father, Philip Burton (superbly played by Toby Jones in the film). Richard (Harry Lawtey of Industry) was actually born Richard Jenkins, the son of a Welsh miner who abandoned the family after the death of Richard’s mother. Richard was then raised by his older sister and her husband, but his talent was spotted by his teacher, Philip Burton, who recognized the young man’s appreciation of literature and drama.

Philip Burton was himself an aspiring writer who penned some dramas for the BBC and had a number of contacts in the theater. But the film suggests that he felt disappointed by his progress and may have compensated in part by playing a mentorship role to Richard. Whether he also felt a physical attraction to young Richard is treated subtly and never definitively answered in the film.

Opening scenes contrast the comfortable but modest living conditions of Philip, who resides in a boarding house owned and overseen by a sympathetic landlady (trenchantly played by Lesley Manville), and the tension in Richard’s household. His brother-in-law demands that Richard drop out of school to contribute to the family finances; the boy resists following his father into the mines but gets a job at a clothing store instead.

Eventually Burton comes up with the idea that Richard can move into the boarding house and return to school, but this may require Burton adopting Richard as his son. Richard is comfortable with this arrangement, and Philip suggests that Richard may have an opportunity for a fellowship to study acting at Oxford. But when Richard’s father and fellow students suggest that Philip may have something more than a paternal interest in the handsome young aspiring actor, Richard flees in terror.

It is to the film’s credit that it refuses to come to any definitive conclusion about Philip’s interest in Richard. There was never anything overtly untoward about their close bond, and until the end of his life, Richard continued to express gratitude for Philip Burton’s mentorship. Yet it may be significant that we never see any hint of Philip’s romantic or sexual interest in women. Richard did leave Burton’s household for several years, but when he had his breakthrough role in Stratford in 1951, portraying Prince Hal in Shakespeare’s Henry IV plays, Philip returned and (at least in this telling) helped Richard to a triumphant opening night.

Richard Burton quickly moved on from there. He earned his first Oscar nomination in 1952 for My Cousin Rachel, and in 1954, he starred in the first Cinemascope epic, The Robe. (Other memorable roles included Becket and Who’s Afraid of Virginia Woolf?, his finest collaboration with Taylor.) Burton also continued acting in theater, and the 1964 production of Hamlet, in which he starred under the direction of John Gielgud, remains perhaps the most phenomenally successful production of the play in modern theatrical history.

Since unknown backstories behind startling successes always compel, Mr. Burton has a lot going for it. Lawtey doesn’t quite match Burton’s thrilling vocal delivery (who could?), but he convinces us of the young actor’s talent and potential instability. But it is really Jones, in one of the finest performances of his long career, who holds our attention throughout the movie. The subject of mentorship is not treated frequently onscreen, but Mr. Burton may be remembered as one of the definitive explorations of the theme. All the technical credits help to ground the film — cinematography by Stuart Biddlecombe is especially striking — but it is the performances that truly mesmerize.

At the start of “Project Hail Mary,” Ryan Gosling wakes up aboard a spaceship bound for parts unknown, with no memory of how he got there. After discerning that he’s traveled beyond the confines of our solar system and all his shipmates are dead, he breaks into the ship’s ample supply of vodka and drinks himself into a stupor.

Sounds like a laugh riot, right?

In the hands of co-directors Phil Lord and Christopher Miller, it is. “Project Hail Mary” is the type of movie that theaters have been lacking for quite some time: A heady sci-fi saga and an irreverent buddy comedy, stuffed with hijinks that keep the film moving at the speed of light. (Until it doesn’t, anyway. More on that later.)

Through a series of flashbacks, we learn that Gosling’s amnesiac astronaut is a middle school science teacher named Ryland Grace, who stepped away from being a top-level biologist after publishing a paper that made him a laughingstock in the scientific community. His paper’s assertions suddenly seem more credible, however, when microscopic alien organisms known as Astrophage are discovered feeding (and breeding) off the sun’s energy, plunging the Earth into an extinction-level crisis.

The full scope of how Grace ended up alone in deep space is slowly revealed throughout the film, but the why is that Astrophage has begun dimming every nearby star except for one: Tau Ceti, a real star approximately 12 light years away from Earth.

Lord and Miller adapted “Project Hail Mary” from the novel of the same name by “The Martian” author Andy Weir, and it shows. Much like Matt Damon’s stranded astronaut Mark Watney, Gosling’s Grace keeps us entertained via self-shot video updates being sent to no one, wryly narrating both his occasional moments of brilliance and his near-constant self-doubt in being chosen as humanity’s last hope. 

“Project Hail Mary” really takes off when Grace discovers he’s not the only scientist orbiting Tau Ceti in search of answers. Also on a mission to save his planet is a pint-sized, faceless alien who resembles a many-legged, anthropomorphic Stonehenge. After making contact and rigging up a crude translation device, Grace and the alien (dubbed “Rocky”) settle into a buddy comedy rhythm as they work together to save their respective species.

Rocky is, in a word, adorable. A mix of practical and digital effects, the creature, voiced by puppeteer James Ortiz, would fit right in with Jim Henson’s creations. When Rocky decides to move into Grace’s ship — a feat made possible by what is effectively a temperature-controlled hamster ball — he crashes around the ship like E.T. hunting for Reese’s Pieces. (An earlier homage to “Close Encounters of the Third Kind” reinforces Spielberg’s influence on the story.) 

Lord and Miller — the duo behind “The Lego Movie,” “Spider-Man: Into the Spider-Verse,” and the “21 Jump Street” remake — are some of the most naturally funny filmmakers currently working. Where Ridley Scott’s “The Martian” is a sci-fi drama with occasional moments of levity, “Project Hail Mary” is more like an intergalactic “The Odd Couple,” or “Planes, Trains and Automobiles” on a cosmic scale. 

That tone is perfect for Gosling, who cements his status here as one of Hollywood’s most versatile leading men. Even with his movie-star looks, he’s believable as a scientist who refuses to believe in himself. It’s a twitchy, scream-filled performance that calls to mind his role in “The Nice Guys,” one of the most undersung comedies of the past decade.

Rocky isn’t Grace’s only comic foil, either. Back on flashback Earth, the stone-faced Eva Stratt (Sandra Hüller, “Anatomy of a Fall”), who recruits Grace for the Hail Mary project, stoically deals with his low self-esteem and regular freakouts, as does Carl (Lionel Boyce, “The Bear”), a security guard assigned to keep Grace on task.

All told, The first 70 percent of “Project Hail Mary” ranks among the most broadly entertaining blockbusters in recent memory. That’s why it’s so disappointing when the film loses its way when trying to land the proverbial ship. Lord and Miller are frustratingly faithful to Weir’s source material, which means slogging through a series of false endings and saccharine, emotionally manipulative scenes. The better choice would have been lopping a half hour off the film’s 156-minute runtime.

Nevertheless, if you can mentally prepare yourself for a dramatic downshift in tone, “Project Hail Mary” is well worth a trip to the theaters. It’s a rollicking adventure that offers something for moviegoers of almost any age, anchored by a star turn from Gosling and a puppet that is out of this world.

Rating: *** (out of 4)

“Project Hail Mary” will be released in theaters March 20.

Youth, a romantic comedy-drama written, directed, and headlined by Ken Karunaas, hit theaters on March 19. Soon after its release, viewers who attended early shows began sharing their reactions online. Social media platforms, especially X (formerly Twitter), were flooded with first impressions.

Performances and music receive praise

Many viewers highlighted the performances as a major strength of Youth. Ken Karunaas’s acting has been widely appreciated, along with the supporting cast. One review read, “#Youth—A Promising All-Rounder Perf from Ken, So Natural. Suraj, Anisma, and Devadarshini are good. GV Prakash’s superb music is the backbone. Simple story, no major conflict. Fun 1st half of school track with frequent comedies. The 2nd half begins on a slow note, circles, & ends emotionally. ENJOYABLE!” The music by G. V. Prakash Kumar has also received strong praise, with many calling it the backbone of the film.

Fun first half and emotional climax

Audiences have pointed out that the film’s first half is filled with humor and youthful moments. The school track, in particular, seems to have connected well with viewers.Another user shared, “#Youth Review: A Fun & Teenage Drama. Ken & Gang is Here To Stay. GVP Has Given The Best For The Boys. Casting At Its Best & Perf Interval is Fun & The ClimaxPerfect is Touching. Anishma’s Portion Has My Heart. Go With Friends & Family!” YOUTHFUL & SOULFUL FILM!! Saloon Rating: 3.75/5″

Mixed notes on second-half pace

While the overall response has been positive, some viewers noted pacing issues in the latter half. The narrative reportedly slows down before reaching its emotional conclusion.A similar reaction read, “#Youth (Tamil|2026) – THEATRE. Promising performance from Ken. Suraj, Anishma, and Devadarshni were good. GV Prakash’s superb music is the backbone. Simple story, no major conflict. Fun 1st Half of School Track with frequent comedies. The 2nd half begins on a slow note, circles, & ends emotionally. ENJOYABLE!” Despite these concerns, the film still appears to leave audiences satisfied.