Fly Me to the Moon Review

Director Greg Berlanti’s Fly Me to the Moon ambitiously mixes romantic comedy, historical drama, and conspiracy-fueled satire into one package, but the result is a jarring tonal mishmash. Anchored by the undeniable star power of Scarlett Johansson and Channing Tatum, the film begins as a lively period piece set against the backdrop of NASA’s Apollo 11 mission, only to spiral into outlandish absurdity in its second half. While it occasionally charms and entertains, Fly Me to the Moon ultimately buckles under the weight of its own ambitions.

The story follows Kelly Jones (Scarlett Johansson), a savvy 1960s New York ad executive recruited by shadowy government agent Moe Berkus (Woody Harrelson) to market NASA’s moon landing to the American public. She is paired with Cole Davis (Channing Tatum), a no-nonsense launch director haunted by the tragedy of Apollo 1. Their initial clash — fueled by Kelly’s knack for bending the rules and Cole’s by-the-book mentality — sets up a classic romantic comedy dynamic.

The film’s first half is its strongest. Johansson delivers a charismatic performance as Kelly, capturing the character’s sharp wit and strategic brilliance, while Tatum brings gravitas to Cole, balancing his stoic professionalism with glimpses of vulnerability. Their workplace friction and gradual mutual respect are reminiscent of old-school screwball comedies, although their chemistry is more serviceable than sizzling. Johansson’s effervescent energy often outpaces Tatum’s brooding demeanor, making their romance feel more obligatory than organic.

Berlanti crafts a convincing nostalgic atmosphere, aided by meticulous production design and Mary Zophres’ dazzling costumes, which perfectly capture mid-century style. Supporting performances by Ray Romano as a pragmatic assistant launch director and Jim Rash as a flamboyant commercial director add color to the proceedings. The script even injects humor through NASA’s PR efforts, from corporate sponsorships to debates over filming logistics.

However, the film’s promising setup derails in its second half, when it takes a sharp turn into conspiracy-laden territory. The plot introduces a scheme to fake the moon landing as a backup plan, complete with a soundstage and actors mimicking the astronauts’ movements in real-time. This twist, though bold, feels ill-conceived, dragging the film into baffling and implausible territory. The idea of simultaneously staging a fake landing while conducting a real mission strains credibility, even within the confines of a fictional narrative.

The tonal inconsistencies become glaring as the film struggles to balance romantic comedy, political satire, and dramatic tension. What begins as a witty, nostalgic romp devolves into a convoluted spectacle that undermines the emotional stakes and humor. The conspiracy subplot is not only far-fetched but also tonally jarring, overshadowing the more grounded storylines and reducing the climax to a chaotic mess.

Despite its flaws, Fly Me to the Moon has moments of charm and ingenuity. The first half brims with potential, thanks to its charismatic leads, snappy dialogue, and engaging portrayal of NASA’s historic mission. Berlanti’s direction is confident, and the film’s visual appeal is undeniable, with its lush recreation of 1960s Florida. Yet these strengths are overshadowed by a screenplay that veers wildly off course, leaving audiences confused and disconnected.

Fly Me to the Moon tries to do too much and ends up doing too little. It could have been a heartfelt tribute to the Apollo 11 mission or a lighthearted romantic comedy set against a historic backdrop. Instead, it becomes a cautionary tale about the risks of mixing genres without a clear vision. While fans of Johansson and Tatum may find enough to enjoy in their performances, the film’s disjointed narrative and outlandish twists make it a missed opportunity for something truly special.