FLY ME TO THE MOON

An old-fashioned approach to storytelling combines with a heavy dose of feminism in Fly Me to the Moon yet after a thoroughly enjoyable first hour the picture runs out of fresh ideas.

What do you get when you combine Mad Men with The Right Stuff? That most likely was the pitch for Fly Me to the Moon and for large chunks of the sixties-set romantic comedy the well-balanced tale does draw the audience in with engaging characters, plenty of comedy and a hint of space age nostalgia.

Taking a page out of an old-school filmmaking book, the picture relies heavily on the star power of Scarlett Johansson – playing a cocky advertiser drafted in to sell the moon landing – and Channing Tatum, head of mission control at NASA, who despite their differences inevitably are drawn ever closer together.

While they are a pairing with decent chemistry, it’s Johansson who bears the weight of the movie the most and she does it with charm, aplomb and real gusto. Tatum gets a scene left and right to shine as well but he is heavily hampered by a rote scar tissue subplot that fails to give his character a distinct voice.

They are supported by a game, diverse acting ensemble that at times seems more fitted for a sitcom than a big screen adventure but from Ray Romano to Woody Harrelson and everyone in between they paint a jovial smile on your face. Kudos as well to the production designer, cinematographer and sound design team who make sure you notice every single penny of the movie’s reported 100 million dollar budget on-screen.

Still, while there is plenty to enjoy and even love about Fly Me to the Moon, from the half-way mark onwards the film loses momentum quite dramatically due in particular to a back-up plan subplot for the lunar landing that not only goes nowhere but is far from original. In short: Fly Me to the Moon definitely reaches orbit but doesn’t quite make it to infinity or beyond.

release: 2024

director: Greg Berlanti

starring: Scarlett Johansson, Channing Tatum, Woody Harrelson, Anna Garcia