Conspiracy theories are rarely accurate, yet when examined, they can provide important context and insight into the general public’s fears. “The government faked the moon landing!” is something that a conspiratorial uncle might yell at Thanksgiving, but for the new romantic comedy Fly Me to the Moon, it’s a launch pad.
It’s 1969 and the space race is rapidly losing civilian support following the failed Apollo I mission. As the unpopular Vietnam War rages on and civil unrest continues to build, the chance of reaching the moon before the end of the decade feels more out of reach than ever. That’s why Kelly Jones, a clever advertiser played by Scarlett Johansson, is hired by the Nixon administration to sell the mission to the public.
The Don Draper-esque Jones is an expert at manipulation and knows that in order to get what she wants, she will need some tricks up her sleeve. The straitlaced NASA launch director, Cole Davis (Channing Tatum), fundamentally disagrees with everything about Kelly. He believes in integrity to a fault, leading him and his new coworker to fight—or flirt—for control of the NASA image. Eventually, it’s revealed that Kelly’s highly classified assignment, Project Artemis, will fake the moon landing on a soundstage for broadcast, directed by the eccentric Jim Rash, as a fail-safe for Apollo II.
The movie, directed by Greg Berlanti, can’t quite decide if it’s a comedy, romance, or drama, and the outcome of this mishmash of tones ends up feeling like emotional whiplash. Cole earnestly believes in space exploration and feels that Kelly’s method of making NASA a product for sale weakens its credibility. But from Kelly’s perspective, without the funding and public investment, there is no mission. The tension between these two modes of thinking makes for a wealth of conflict that remains underwhelming.
Faking the moon landing plays into the fear of “fake news” and a lack of trust in both media and government. But as Kelly says, the truth is still the truth, even if no one believes it. PG-13, 132 mins.
Reader Recommends: FILM & TV
Our critics review the best on the big and small screens and in the media.
Sunny helps viewers process their AI robot fears.
French provocateur Catherine Breillat explores age gap relationships with complexity and truth in Last Summer.
This French vampire dramedy may not be groundbreaking, but its strong leads and dry humor make it well worth watching.
As a franchise prequel, A Quiet Place: Day One doesn’t do enough world-building, but Lupita Nyong’o makes it worth a watch.
Sophocles’s Oedipus Rex inspired this intentional and affecting drama.
Annie Baker’s quiet film debut explores a strikingly universal parent-child relationship.