**Don’t Be Misled by the Title: *Fly Me to the Moon* Falls Short**

On first impression, *Fly Me to the Moon* may appear to be a delightful nod to the romantic comedies of the 1960s. However, despite its nostalgic name, director Greg Berlanti’s latest project is anything but the easygoing, star-studded adventure one might anticipate. Instead, it becomes a confused blend of NASA drama, lukewarm showbiz parody, and inconsistent tones that fails to gain momentum.

Admittedly, the film features an impressive cast. Scarlett Johansson shines as Kelly Jones, a sharp advertising guru reminiscent of a Hitchcock heroine, while Channing Tatum portrays Cole Davis, a stoic NASA launch director reflecting a Tracy-Hepburn dynamic with Johansson. The supporting ensemble, featuring Woody Harrelson, Ray Romano, Jim Rash, and the attention-stealing Anna Garcia, brings some much-needed vitality to the film. Yet, even their combined star power cannot rescue Berlanti’s underwhelming execution.

In the end, *Fly Me to the Moon* is a cinematic disappointment that never manages to establish a solid ground.

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### A Film That Attempts Too Much… and Falls Short

Set in 1969, *Fly Me to the Moon* revolves around a enemies-to-lovers narrative that contrasts the grand ambitions of the Apollo 11 moon landing with the cynical nature of marketing. On one hand, there’s Cole (Tatum), the pragmatic NASA director eager to create history. On the flip side is Kelly (Johansson), a savvy advertising executive charged with promoting the moon landing to a distracted audience preoccupied with the Vietnam War.

The film’s premise holds promise, but the execution is unsettling. Rose Gilroy’s screenplay uncomfortably mixes lighthearted romance with the harsh realities of the time. Moments of flirtation and comedy are often disrupted by stark reminders of the Vietnam War or the tragic Apollo 1 incident that resulted in the deaths of three astronauts. While these elements aim to add gravitas and stakes, they instead forge a tonal dissonance that disrupts the film’s flow.

Cole’s sorrow over the Apollo 1 incident is intended to explain his contempt for Kelly’s PR strategies, but the film struggles to merge his serious storyline with her effervescent, optimistic demeanor. The outcome is a romance that feels fragmented and contrived. Even the climactic kiss between the leads is marred by overt product placement, with an OMEGA® watch prominently featured in the frame.

The film’s tonal erraticism may be an endeavor to reflect the ideological conflict between its two protagonists, but in reality, it creates a frustrating viewing experience. Scenes of despair, flirtation, and slapstick comedy are haphazardly strung together without a coherent flow, leaving audiences feeling unsettled.

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### Is Star Power Diminishing?

For years, critics have pondered whether star power remains capable of elevating a film. *Fly Me to the Moon* adds to this discussion.

Scarlett Johansson commits fully, offering a performance that fluctuates from witty quips to an emotional monologue about her character’s troubled history. However, even her considerable allure cannot compensate for the shallow characterization of Kelly, whose layers of pretense render her emotional scenes unconvincing.

Channing Tatum is left with a role that strips him of the charming playfulness he has mastered in films like *Magic Mike*. Instead, he plays a serious “science man” archetype that fails to connect. Initial attempts to inject humor—like a scene with a flaming broom—are sidelined in favor of a more somber portrayal that lacks the charisma of classic romantic leads like Spencer Tracy or Cary Grant.

Even worse, Johansson and Tatum seem to lack the chemistry necessary to render their romance credible. The film’s meandering storyline contributes to this, as it wades through peaks and valleys without building towards a fulfilling resolution. At over two hours, the film feels like an unnecessarily long miniseries condensed into a single viewing. Breaking the narrative into episodic segments might have lessened the jarring tonal shifts, allowing for the characters to develop more fully.

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### A Supporting Cast That Outshines the Main Characters

While Johansson and Tatum falter under the weight of the film’s shortcomings, the supporting cast elevates the material.

Jim Rash delivers an exceptional performance as Lance Vespertine, a flamboyant and self-absorbed commercial director. His frenetic energy and quick-witted humor offer much-needed levity, despite the underdeveloped nature of his character’s commentary on showbiz extravagance.

Ray Romano, as Cole’s friendly companion, transforms a thankless role into a source of warmth and laughter, while Woody Harrelson breezes through his scenes as an enigmatic government agent sporting a fedora.