🚀 Project Hail Mary Is Now Streaming on Prime Video

$680 million worldwide, and Prime Video didn't pay a dollar extra for it. Project Hail Mary is streaming there as of July 3, 105 days after its March 20 theatrical opening: fifteen weeks, to the day. Amazon MGM Studios sat on its biggest original hit of the year longer than most studios would risk. Nobody forced their hand.

What actually landed on Prime

Phil Lord and Christopher Miller directed it, adapting Andy Weir's novel of the same name. Ryan Gosling plays Ryland Grace, a molecular biologist pulled into saving a dying sun, working alongside an alien he names Rocky. Pitch that cold and it sounds like a hard sell: a non-franchise movie whose lead spends half his screen time talking to an alien. It grossed $680 million anyway. Trade coverage called it 2026's first real box office event for an original title, a label the trades usually give away for free. This time the ledger backs it up.

See where that puts it against the year's other releases on our 2026 box office chart.

The run that got it here

$80.6 million opening weekend, 2026's biggest debut at the time and Amazon MGM's largest ever, per Variety. Openings are marketing spend showing up as a number. What happens next is the movie talking.

Split the domestic total into three chunks and the shape gets obvious. Opening weekend: $80.6M over three days, a $26.9M-a-day pace. Weekend two: $54.5M over three days, still a 32% drop, gentle for an $80M opener, worth $18.2M a day. Everything after, the remaining 99 days before Amazon flipped it to streaming, added the other $207.9M (that's $343M minus the first two weekends), a pace of roughly $2.1M a day. The daily rate collapsed more than 90% off the opening pace, and the movie still closed at $343 million domestic, 4.3 times its opening weekend. Most $80M openers never get near that multiple.

Worldwide, the run cleared $680 million. None of that touches the all-time opening-weekend list. Good. The debut was never the point.

By the numbers

What the fifty-fifty split actually says

$343 million of $680 million is 50.4% domestic. Flip it around: $337 million came from every market outside the U.S. combined. Big science-fiction tentpoles usually lean overseas harder than that, more screens, less dialogue to translate, an easier sell to a wider audience. A movie that splits close to even instead means American word of mouth carried more of the weight than the genre typically allows. The 32% second-weekend drop is that same fact wearing a different unit.

Our domestic vs. worldwide explainer covers why that split matters more than the headline total. How box office numbers get calculated covers what these grosses count in the first place.

Do the reviews match the money?

Rotten Tomatoes: 94-95%. Metacritic: 80, "Generally Favorable." Those measure two different things. Tomatometer counts how many critics approved at all; Metacritic averages how warmly. Stack a 94 on top of an 80 and the translation is plain: almost everybody liked it, almost nobody lost their mind over it. I'll take the 80. An 80 for an original studio sci-fi movie is a genuinely good outcome, not a consolation prize for the 94.

Why 105 days, not 60?

Most studios shrink the window the moment grosses go flat, because every idle week between theatrical and streaming is a marketing dollar already spent, doing nothing. Amazon doesn't have that problem. It owns the theatrical gross and the Prime shelf both. A 105-day run wasn't lost revenue; it was 105 days of free advertising for the platform the movie was always going to land on. Universal ran a version of the same play sending Super Mario Galaxy to Peacock: own the exhibition window, own the landing pad, and there's no reason to rush.

The scarcer ingredient is what earned Amazon a window this long in the first place. Original properties at this scale barely get greenlit anymore; studios build calendars around franchises because pre-awareness is the cheapest marketing there is. Weir's novel supplied a version of that for free. Book readers were the pre-sold audience. Everybody else came for Gosling.

Should you actually fire up Prime for this?

If you already pay for Prime, yes, obviously, the movie is sitting right there and this sentence took longer to read than the decision should take. If you don't, run the subscription cost against our streaming price comparison before signing up for one title, the ad tier handles a movie this bright just fine. Our guide to watching movies still in theaters at home covers the general mechanics of catching a theatrical release once it moves, windows and rental fees included.

The next real number in this story belongs to Amazon, and it may never publish it: how many people actually pressed play. Studios report grosses every weekend, out of habit and obligation both. Streamers report almost nothing. When a $680 million movie goes quiet the week it lands on Prime, that silence is data too, the kind only Amazon gets to read.

Methodology

Grosses and dates come from Variety, Deadline and The Hollywood Reporter's published reporting; critic scores are Rotten Tomatoes' and Metacritic's own figures, cross-checked as of July 19, 2026. Every per-day pace figure above, $26.9M, $18.2M, $2.1M, and the 90%+ drop between them, is arithmetic run on those reported grosses and rounded, not separately reported data.