Scarlett Johansson and Channing Tatum Rediscover the Magic of the Rom-Com and the Moon Landing
DIRECTOR: GREG BERLANTI/2024
NASA has a publicity problem.
Since President Kennedy’s 1961 mandate to reach the moon by the end of the decade, the United States has changed. In late 1968, Americans aren’t as optimistic about space travel—given the current political turmoil, isn’t this just a waste of taxpayers’ money? Enter Kelly Jones (Scarlett Johansson). A savvy Madison Avenue advertising exec, she takes on revamping their reputation when enigmatic Nixon adviser Moe (Woody Harrelson) hires her. But not everyone is convinced Kelly’s slick salesmanship is the answer of NASA’s financial woes. Apollo 11 launch director Cole Davis (Channing Tatum) can hardly tolerate her projects, which he finds almost as distracting as her luminous green eyes. Will their chemistry prevail even as they compete at work? And will NASA win the space race even as Moe films a fake landing just in case?
If you’ve ever seen a romantic comedy baked with misunderstandings, secrets, and false identities—think Pillow Talk or How to Lose a Guy in 10 Days—then you know the answers. Fly Me to the Moon (an infinitely better title than its working one, Project Artemis) knows its success is much less about its destination than the flying itself. Romances are about chemistry, which Johansson and Tatum have to spare, and comedies require a light touch, which is just what this semi-real retelling of the first moon landing needs. Will this duo leave a legacy like Doris Day and Rock Hudson or even Matthew McConaughey and Kate Hudson? Perhaps not, but if Apple ever allows Fly Me to the Moon to show on cable, it will immediately join my Saturday night rotation of Hitch, The Proposal, and a smattering of Jennifer Lopez vehicles I always turn on no matter where they are in their runtime. I assure you that’s not a backhanded compliment—it’s a testament to its rewatchability.
Fly Me to the Moon is a solid four-quadrant film, even if it runs a smidge too long. The script (a standout of a first screenplay from Rose Gilroy) finds just enough character development to create stakes for a story with an ending we knew before we sat down. Harrelson is having a blast, Ray Romano steals scenes with his dry delivery, Jim Rash channels the eccentric director he discovered in season three of Community, and a few fun cameos peppered throughout keep the energy up.
What really sets this movie apart, though, is its optimism. I’m still wishing, waiting, hoping for the Rom-Com-aissance I dreamed of when reviewing Ticket to Paradise to fully materialize, because as I noted when reviewing My Big Fat Greek Wedding 3, Hallmark and most of streaming’s output isn’t quality enough to count. But even among its small number of big-budget peers, this rom-com stands out. Last year’s sleeper hit Anyone But You dipped its pen in acid and February’s Lisa Frankenstein dipped its pen in blood, but Fly Me to the Moon dipped its in sunshine. Our leads wear bold primary colors in the chicest ‘60s styles, and though they have baggage, they still believe in the promise of the tomorrow. More significantly in 2024, they still believe in the integrity of the American dream and American government. That’s the kind of hope we expect in the national conversation when the Olympics kick off in a few weeks, but not the election we’re all dreading in a few months. It’s easy to forget how troubled the late ’60s were, and though the film isn’t heavy handed, its connections with our current turbulence feels intentional. There’s always space to be cynical, but Fly Me to the Moon dares to believe in something beyond what’s right in front of us.