Movie Review ~ Fly Me to the Moon

It’s usually around the 4th of July holiday when moviegoers brace themselves for a huge event film, one that often involves aliens from outer space descending on Earth to wreak havoc.  Well, buckle up, space cadets, because something new invades your cinemas the week after the holiday that will have you over the Moon.  Blasting off into theaters and delivering a delightful casserole of romance, humor, and a few arguably tweaked historical hijinks, Fly Me to the Moon proves that sometimes the most out-of-this-world romances unfold here on Earth.

Looking back, it’s easy to pinpoint the 1960s as a golden era of boundless ambition and endless style, with the Space Race capturing the world’s imagination.  A dream introduced by a beloved president, it was a time when the impossible seemed within reach, and while the Vietnam War raged on, nowhere was the hope of possibility more alive than at NASA with their audacious Apollo mission to put a man on the Moon.  Director Greg Berlanti puts us on a rocket back to this era, blending light-hearted historical intrigue with a romantic comedy that feels balanced and invigorating.  It’s such a fizzy concoction that it might charm you right out of your seat, but it beautifully navigates a tricky path between drama and a sweet romance.

As NASA tackles the monumental task of safely putting a man on the Moon, they must contend with public and political pressure to beat the Soviets to the lunar surface.  A series of failed (and fatal) attempts to launch the Apollo missions have created a mound of bad PR for the space program, leaving the once idealized vision of conquering space less and less a reality.  To ensure public support remains sky-high, the White House intervenes, sending secretive government official Moe Berkus to snag whip-smart marketing whiz Kelly Jones to polish NASA’s image.

Jones (Scarlett Johansson, Under the Skin) is a beauty with brains that has developed a knack for finding the perfect angle for any campaign, even if it means fabricating facts to do it.  Her task to spruce up the Apollo 11 mission becomes exponentially more complicated when Berkus all but blackmails her into staging a fake moon landing as a backup plan should the real mission fail.  Kelly isn’t entirely without scruples, though, and her simmering relationship with no-nonsense NASA director Cole Davis (Channing Tatum, White House Down) gives her pause.  Though they initially clash over her slick, free-wheeling approach to the work he takes so seriously (and for good reason), sparks eventually fly.  With the launch date approaching for Cole and the shoot date pending for Kelly, the line is blurred between the genuine and the fabricated’s importance.  The result is a stylish comedy-drama that is as much about the heart as it is about venturing into the cosmos.

I’ve long been fascinated with movies and television programs about NASA, especially those that go beyond the technical marvels of space travel and delve into the human stories behind the journey.  Movies like The Right Stuff, Apollo 13, and First Man have set a high bar focusing on the bravery and innovation of astronauts and engineers.  Fly Me to the Moon takes a decidedly different approach, bending some facts in the direction of long-held rumors but infusing them with humor and romance.  It’s a refreshing perspective on the often-serious subject matter…but sure to drive NASA purists nuts.  The thrilling history of the mission has already been captured with stunning clarity in the 2019 documentary Apollo 11, but this is a good compromise of the easy-breezy antics of its charismatic leads and awe-inspiring achievements of space exploration.

In my review of A Family Affair a few weeks back, I spoke about how a lack of chemistry can kill a movie.  As an example of how onscreen vibes can be rocket fuel to a movie’s success, I give you Johansson and Tatum as prime examples.  True movie stars, both actors bring their A-game to Fly Me to the Moon, and for those initially skeptical of the trailer’s formulaic appearance (like me), you should prepare for a pleasant surprise.  Johansson is particularly in the zone as the quick-witted Kelly, bringing an effervescent energy we haven’t seen in some time.  Her rapid-fire banter of screenwriter Rose Gilroy’s dialogue, not to mention the glamorous wardrobe changes, is the perfect counterbalance to Tatum’s steadfast man in charge.  His endearing earnestness, sorely missed from screens lately, creates a delightful onscreen dynamic, making every scene they share a treat.

Berlanti has gathered some winning ensembles in his past features, The Broken Hearts Club, Love, Simon, and Life as We Know It, and finds the same success here with an eclectic mix of veterans and new faces on the block.  Though Harrelson (Suncoast) walks a fine line between a tad-too menacing and good-natured intrigue, and Ray Romano (Somewhere in Queens) feels underutilized, Jim Rash (The Way Way Back) nearly walks away with the film.  As an overly dramatic director brought in by Kelly for her covert operation, Rash makes a hilarious meal out of the scenery in the best way possible.  I also enjoyed Anna Garcia’s performance as Kelly’s right-hand woman whose liberal views fly in the face of her Nixon-appointed assignment.

Berlanti’s surehanded direction demonstrates he knows how to blend humor and heart, never discounting that there are some serious corners of history to cover, which aren’t open for farce.  Undermining these stakes would put the film into an awkward, off-kilter momentum, so tackling what has always been up for debate, the much-discussed staged moon landing, seems like a better target to aim a comedic laser blaster at.  While the film never entirely clarifies its fiction/non-fiction status, to Gilroy’s credit, she makes a relatively firm declaration about the Moon landing’s veracity with the payoff of a comedic through-line involving an errant feline.

Transporting us to the days of cigarette smoke haze and color-blocked conference rooms, Shane Valentino’s (The Trial of the Chicago 7) production design is stellar, especially when we get to Mission Control, complete with hulking computers and Kelly’s gigantic soundstage with vintage cameras ready to capture history (or create it in house). Daniel Pemberton’s (Enola Holmes) score perfectly captures the era’s optimism and the film’s vibrant tone.  The exquisite costume designs from Mary Zophres (The Tragedy of Macbeth) are an absolute highlight, with Johansson’s wardrobe being a parade of stunning outfits, each one more fabulous than the last, while Tatum’s selection of sweaters fits his character’s practical demeanor perfectly. Every detail is meticulously crafted, grounding the film’s fantastical elements in a texture-rich and seamless reality. 

Soaring beyond my expectations, Fly Me to the Moon offers a refreshing take on the rom-com genre and space race narratives.  It reminds us that despite lofty goals and potential disaster, there’s always room for love and a little problem-solving.  Arriving at a perfect point in the summer, thanks to its star power and sheer force of overall entertainment, it will be hard to resist its gravitational pull to get you to the theaters.  As a tribute to a time when anything was possible, it’s light years ahead of its competition.