Review: In fizzy facts-optional ‘Fly Me to the Moon,’ faking Apollo 11 and falling in love

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As a film critic with a deep appreciation for historical dramas and a personal connection to the space program, I found “Fly Me to the Moon” to be an intriguing yet ultimately disappointing cinematic experience.

While “Fly Me to the Moon” may fall short in terms of a compelling narrative and consistent tone, it manages to hold its own by merely existing. This assessment might be seen as a mild criticism. Truth be told, the film, which is primarily set during the pivotal year of 1969 and NASA’s historic Apollo 11 lunar landing, should have provided a more focused, engaging, and thrilling experience.

In simpler terms, regular moviegoers might find this film an enjoyable throwback with its glamorous cast, grand production values, and original IP. The chemistry between Scarlett Johansson and Channing Tatum is also a major draw for viewers.

The film, helmed by Greg Berlanti (“Love, Simon”) from a first-time scriptwriter Rose Gilroy, based on an idea by Keenan Flynn and Bill Kirstein, unfortunately falls short of delivering a satisfying romantic comedy experience. Instead, it feels like a longing, yet forgetful attempt at the genre. As the story progresses, the plotline wanders as much as my easily-distracted Labrador retriever during squirrel season.

Johansson, who is also a producer in this story, brilliantly portrays Kelly Jones, a marketing powerhouse from New York with a knack for bending the truth to close deals. Unaware of it, she’s under surveillance by Moe Berkus (Woody Harrelson), a covert agent hired by then-President Nixon. The time is the tumultuous era of the Vietnam War, which has left the nation and its people deeply divided and skeptical.

Scarlett Johansson in the movie “Fly Me to the Moon.”
(Dan McFadden / Apple TV+)

Kelly quickly travels to Florida, accompanied by her loyal assistant Ruby (played by Anna Garcia), who dislikes Nixon, to establish their business at the Kennedy Space Center. The production filmed there with NASA’s support. Shortly after arriving, Kelly captivates everyone with her enthusiastic and determined efforts to boost the reputation of the Apollo 11 mission and its astronauts, both in America and globally.

I used to be Cole Davis (Tatum), a dedicated and straightforward launch director at NASA. With a military background as an ex-Air Force pilot and a former astronaut hopeful, I carried the heavy weight of the Apollo 1 mission’s fiery and fatal failure less than two years prior. After our awkward encounter at a local diner that left us both feeling tense, I was annoyed to learn that Kelly had become an essential presence at Cape Kennedy, overseeing some of the tasks that were once under my control.

The expected clash, filled with sexual tension yet lacking luster, between the uptight and uninteresting Cole and the charismatic, seemingly supernatural Kelly fails to ignite. Initially, Cole’s rigidity and aggressive behavior toward Kelly leaves one questioning why she is attracted to him, other than his appealing appearance in vibrant knitted turtlenecks.

As I watched the movie unfold, the writers tried to add depth to Cole’s character by sharing his backstory. While this helped me understand why he acted the way he did, it didn’t make him any more captivating or relatable. Channing Tatum gave a valiant effort, but regardless of whether it was due to the script or direction, Cole’s moments of levity felt forced and rigid rather than authentic and engaging.

Scarlett Johansson and Channing Tatum in the movie “Fly Me to the Moon.”
(Dan McFadden / Apple TV+)

As a fan, I’d describe it this way: In “Moonbase,” Kelly and Cole’s blossoming relationship and the film’s lighthearted humor take a backseat when things get serious. Moe, under pressure from the competition with the Soviet Union, tasks a hesitant Kelly with producing a fake moon landing in a studio for global broadcast. The visuals would be simulations, but the audio would remain authentic. Everyone involved in Project Artemis, or this secret production, is bound to secrecy and cannot reveal the truth to anyone outside of our clandestine set, including Cole and NASA.

I find this complex plot twist challenging to understand due to its numerous inconsistencies. However, instead of getting bogged down in the details, I choose to suspend my disbelief and roll with it. This unexpected turn, which plays on the age-old moon landing hoax theory, is both provocative and captivating – even if it’s purely a work of fiction.

Regrettably, this part of the story pushes it toward fast-paced action thrillers, introducing complexities that create tension between the truth-bending Kelly and morally upright Cole. Consequently, the movie becomes longer than intended as these events unfold.

In a technical sense, the movie is an engaging experience. It combines authentic archival footage from the Apollo 11 mission and news coverage with stunning cinematography by Dariusz Wolski. Wolski also portrays the fake moon landing’s expert cameraman in the film. Bravo to Harry Jierjian for excellent editing, Shane Valentino for impressive production design, Mary Zophres for fabulous costumes, and the team behind sound design and editing for their top-notch work.

In the movie, Harrelson plays an amusing role as Moe, who sneakily tries to influence history through Kelly. Harrelson’s performance is a delight and steals several scenes. Ray Romano brings his familiar hangdog expression to life as a veteran NASA engineer. The duo of Donald Elise Watkins and Noah Robbins adds charm as eager young technicians. Additionally, Colin Jost and Victor Garber make enjoyable appearances as pivotal U.S. senators. A nimble black cat also makes a significant contribution to the story.

As someone who has grown up in an era where representation and inclusivity are at the forefront of our societal conversations, I find Jim Rash’s portrayal of Lance Vespertine to be a disappointing step backward. His character, with his Tab-swilling, ascot-wearing, limp-wristed demeanor, harkens back to stereotypical and outdated representations of gay men, at least as far as I’m concerned, bringing us back to the 1960s. His performance is a head-scratching misstep that fails to provide any meaningful contribution to the production, let alone serve as comic relief. It’s important for actors and creators to be mindful of their impact on shaping cultural perceptions and avoid perpetuating harmful stereotypes.

Another intriguing absence is the famous “Fly Me to the Moon” by Frank Sinatra from the 1960s, which includes other fitting tunes like Aretha Franklin’s rendition of “Moon River” and the Bee Gees’ “To Love Somebody.” Surprisingly, Sinatra’s version, played when Buzz Aldrin first set foot on the moon, is missing from this collection. Considering how well-received crowd-pleasers typically are, one would expect its inclusion to be a given and add an extra delight to an almost perfect film. Perhaps space exploration does indeed require a certain level of complexity.

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2024-07-18 18:12