Marketing maven Kelly Jones wreaks havoc on launch director Cole Davis’s already difficult task. When the White House deems the mission too important to fail, the countdown truly begins.
I’m no expert and I certainly haven’t been keeping track, but I think, along with stories surrounding Area 51, the conspiracy theory about NASA faking the moon landing are probably the first two tales of this sort to seep into the public consciousness. Apparently, approximately 10% of the population believes NASA pulled a fast one in 1969, staging Neil Armstrong’s “one small step for man” moment from a hidden soundstage. (For the record, I don’t believe this to be the case. On the other hand, the Area 51 thing gives me pause…)
Greg Berlanti’s “Fly Me to the Moon” uses this tall tale as the background for, of all things, a romantic comedy. Seems a stretch but it actually works. Thanks to a script that weaves together factual information, more than a bit of conjecture and palpable chemistry between its two charismatic leads, this breezy concoction manages to balance hearty laughs with genuine poignancy.
The clock is ticking for the United States’ space program, as the scientists and astronauts at NASA are intent on meeting President Kennedy’s promise to put a man on the moon by the end of the 1960’s. In addition to the science working against them, they are in danger of losing their funding. After the tragic Apollo 1 mission that resulted in the deaths of three astronauts, the organization’s competence is questioned. Adding to their woes is changing public perception regarding the urgency of sending men into outer space. What with so many social problems plaguing the country, it’s becoming harder and harder justifying spending billions on these modern Buck Rogers.
Desperate to change this, and in the process secure further funding from congress, government spook Moe Berkus (Woody Harrelson) hires Madison Avenue ad exec Kelly Jones (Scarlett Johansson) to turn the tide. Brought to Cape Canaveral with her assistant Ruby (Anna Garcia) in tow, she hits the ground running, proposing cross-promotional collaborations that will rekindle interest in the program as well as make the astronauts celebrities without peer.
All good ideas, yet she meets nothing but resistance from Cole Davis (Channing Tatum), former pilot and war hero, currently the launch director. Carrying the weight of the world on his shoulders, as well as grief over Apollo 1, he can’t be bothered with approving ad campaigns, gladhanding politicians or falling in love. And yet, despite his resistance to all three, he winds up doing each.
However, things take a radical turn when Berkus tells Jones is being put in charge of staging a fake version of the moon landing that will be broadcast live if the actual mission goes sideways. That she’s not allowed to tell Davis only complicates matters.
As with most rom coms, there are more than a few misunderstandings between the couple in question. However, there’s a bit more weight to what’s plaguing Jones. Living by the notion that the end justifies the means, she has no problem lying to get what she wants, justifying her actions as just part of the advertising game. However, she takes things too far where her personal history is concerned, her compulsive behavior ultimately revealed to be trauma-based. Johansson does a wonderful job dispensing the charm, convincing us Jones would be a force of charm hard to resist. However, it’s during the moments in which her character lets her guard down that she shines, reminding us just how versatile she is.
Surprisingly, she and Tatum prove a compelling couple. His exasperation in the face of her relentlessness generates constant comic tension, while he gets an opportunity to show his dramatic chops as well. It’s no surprise Harrelson is the film’s stealth weapon, stealing each scene he’s in with his sly approach, Cheshire cat smile and perpetual gleam in his eye. Between him and Johansson, I’m not sure who comes out ahead in the “charm” sweepstakes, however special mention should be made regarding Ray Romano and Jim Rash, as Davis’ right-hand man Henry Smalls and prima donna film director Lance Vespertine, respectively, each punching up key moments.
More than anything, “Moon” proves to be an effective throwback to the kind of films we don’t see much anymore. There’s a sense of innocence here reminiscent of the Rock Hudson-Doris Day features, a playfulness between Johansson and Tatum that never allows things to get too heavy. And while a steady diet of movies like this would get old quickly, this retro exercise proves a welcome respite to the usual overblown Hollywood fare.
3 1/2 Stars
