Fly Me to the Moon Is Just Good Enough to Make You Wish It Were Better

As a seasoned cinephile with a deep appreciation for the intricacies of filmmaking and storytelling, I found “Fly Me to the Moon” to be a delightful and charming romp through the 1960s Space Race era. The film takes some creative liberties with historical facts, but it is held together by the impeccable chemistry between Channing Tatum and Scarlett Johansson.

Title “Fly Me to the Moon”: This film may be funnier, more romantic, or more visually striking, but its endearing performance by Channing Tatum and Scarlett Johansson makes up for it. Set against the backdrop of the Space Race in the 1960s, when NASA was facing legitimacy issues due to early failures, this movie takes creative liberties with historical facts. It’s neither a history lesson nor a typical romantic comedy but rather an enjoyable blend of genres that keeps us engaged through the captivating chemistry between Tatum and Johansson, who surprisingly complement each other well.

Johansson portrays Kelly Jones, a convincing Madison Avenue advertising executive who, at our initial encounter, feigns pregnancy while persuading Ford executives with alluring words for a campaign emphasizing seat belts in their Mustangs. Her ability to mimic accents and assume false identities raises suspicions about her true identity. Indeed, she’s soon contacted by Moe Berkus (Woody Harrelson), an enigmatic figure from the newly inaugurated Nixon administration, who requests her assistance in revitalizing NASA’s public image to prevent funding cuts. Initially reluctant, Kelly is pressured by Moe’s knowledge of her concealed past, compelling her acceptance.

The responsibilities given to Kelly now place her at odds with Cole Davis (Tatum), the mission director for the upcoming Apollo 11 lunar expedition. With his earnest attitude and quirky behavior, he finds it hard to grasp a marketing expert trying to promote the Space Race through product endorsements and advertising deals, all while attempting to win over skeptical senators to prevent budget cuts for the agency.

After Cole confesses his crush on Kelly during their initial encounter, there could be an increase in sparks between them. However, it’s still early days, and neither has made the first move yet. We watch as they work together to keep the Moonshot project running smoothly. On the surface, this situation seems predictable since we’re aware of the eventual outcomes. But we can’t help but be captivated by these two stars. Despite Tatum’s rugged physique not typically fitting the image of a science and math expert, we accept him as a NASA leader – a decorated pilot with a strong commitment to his mission. The contrast between his earnestness and Johansson’s calculated playfulness keeps us engaged. They communicate and act at different paces, creating an intriguing dynamic.

In the movie, there’s an additional storyline, which is promoted in the trailers but doesn’t appear until late in the film. This subplot revolves around Kelly’s plan to fabricate a phony moon landing named “Project Artemis,” serving as a backup option if the genuine mission encounters problems. However, Rose Gilroy’s script fails to provide a clear explanation of how this project is intended to function. Even a comedic scene depicting the chaos of producing Project Artemis leaves us with more queries than answers.

Despite knowing the outcome of the historical moon landing, this plot point likely exists to add intrigue and shape the story in a more cinematic way. In other words, it’s probable that some fictional element was included to build suspense around an already known event. (Don’t worry, the movie doesn’t insinuate that the moon landing was a hoax.) Director Greg Berlanti and his talented cast seem to relish the comedic antics of producing a fake moon landing alongside the authentic Apollo mission. Jim Rash, portraying the egotistical commercials director Lance Vespertine, hired by Kelly to oversee the project, is clearly enjoying himself immensely, and that joy is infectious for us as well. We may even overlook his character’s stereotypical portrayal of a flamboyantly gay creative director.

Berlanti has achieved notable success in television production. However, “Fly Me to the Moon” was not ideally suited for a TV series, as it sometimes seems to strive for that format with its incongruously placed subplots and episodic progression. Unfortunately, it fails to convey the grandeur of the Space Race on the big screen. During one scene, Henry Smalls (Ray Romano), Cole’s assistant flight director, shows Kelly the Apollo launchpad at a distance. Henry shares, “I’ve been gazing at this view for eight years.” This perspective represents a distant twilight reverie where these individuals are attempting to make their dreams a reality. The movie frequently discusses how the Space Race allowed America to dream during wartime and political unrest. However, it scarcely allows this concept to resonate with us; it appears more like a polished dialogue than an authentic underlying theme. When Cole takes Kelly on a night flight in his prop plane, we’re meant to feel awe and tenderness. But the moment feels insignificant, visually unremarkable, and not notably romantic. The film is overly lengthy, yet it never truly breathes, consumed as it is with checking off story points and character development. Nevertheless, there is undeniable magic whenever Johansson and Tatum appear onscreen.

2024-07-22 19:23

Fly Me to the Moon Is Just Good Enough to Make You Wish It Were Better

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