“Fly Me to the Moon” aspires to be a charming romantic comedy set against the backdrop of the thrilling 1960s space race. It boasts a charismatic cast, led by Scarlett Johansson and Channing Tatum, and a captivating premise that blends historical fiction with a touch of conspiracy theory.
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Johansson shines as Kelly Jones, a quick-witted advertising executive tasked with reigniting public interest in NASA’s Apollo program. Her character evokes a Don Draper-esque persona, radiating confidence in a sea of mid-century style (thanks to the dazzling costume design). However, Kelly’s true strength lies in her ability to understand people and manipulate situations to her advantage.
Where the film falters is in the forced romantic connection between Kelly and launch director Cole Davis, played by Channing Tatum. While both actors are undeniably attractive, their on-screen chemistry fizzles. Their meet-cute feels clichéd, and their personalities clash throughout the film. Tatum portrays Cole as a serious and stoic individual, burdened by the memory of the Apollo 1 tragedy. This seriousness creates a tonal imbalance with Kelly’s effervescent energy.
The screenplay, aiming for witty banter reminiscent of classic Hollywood rom-coms, falls short. The dialogue between Johansson and Tatum feels disjointed, as if they inhabit separate narratives. This is particularly evident in their supposed emotional revelations, which come across as awkward exposition dumps.
An intriguing twist emerges when we learn about Kelly’s secret mission: to assemble a team to fake the moon landing on a soundstage – a nod to a long-standing conspiracy theory. This subplot, featuring a delightfully over-the-top performance by Jim Rash, injects some humor but ultimately feels underdeveloped.
“Fly Me to the Moon” struggles with its identity. It swings wildly between lighthearted comedy, historical drama, and even political satire. The film overstays its welcome, with a drawn-out ending that feels repetitive and unnecessary. While talented supporting actors like Ray Romano and Anna Garcia do their best, their characters lack depth. Even Colin Jost’s brief cameo as a senator feels like a misplaced comedic note.
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