movie review moon

Moon Review

17 Jul 2009

While J. J. Abrams’ Red Bull reboot of Star Trek has triumphantly pulled the Zimmer frame from a rusting franchise, the relaunch is pretty indicative of modern mainstream sci-fi — epic on the dazzle, easy on the brain cells. Given its pondersome heritage, Trek’s facelift as an action series is an invigorating way to go, but it does firm up the argument that the genre of Big Ideas is, nowadays, more about Huge Explosions.

Which is odd because, during the ’70s and early ’80s, American cinema was besotted with sci-fi, not as a rollercoaster ride, but as a vessel for exploring man’s place in the cosmic ink. Duncan Jones’ mesmerising debut is an affectionate throwback to the Blade Runners, Outlands and Dark Stars of the genre, not just in terms of the way it looks, but the way it feels and thinks. From the very moment we land on Moon, the future is sci-fi’s past. The year is 2024 but really, what with the chunky lunar bases, clinical interiors and spooky, mothering computer, its Casio watch is still firmly stuck on 2001. Endearingly lo-fi Tonka Toy lunar buggies bonk over the moon’s surface like it’s space circa 1999. The stranded space-hippy vibe screams Silent Running... And yet, just when you think you’ve seen it all before, Moon fuses a jumble of familiar elements and magics up something original.

The opening act follows all the beats of a castaway movie as we’re eased into the moon boots of Sam Bell, plodding solo around his lunar base, sharing tediously functional conversations with a Kevin Spacey-voiced computer, watching video messages from the wife and generally aching to get the hell out of there. Sedate camerawork and Clint Mansell’s spectral piano score compound the sense of unearthly isolation, but what makes it all so captivating are the lived-in details that ground his solitary confinement — the furry dice in the moon rover, the crumpled Post-it notes, the vac-packed baked beans he slobbily sucks straight out of the bag...

There’s also, however, a softly humming ominous ambience that’s always threatening a lurch into space oddity and when it hits, with the baffling arrival of Bell’s surly doppelgänger, the film warps genres — from character study to twisty-turny existential mystery, and it’s just too smart to spoil. Less a whodunnit, more a whothehellami, while the ingenious script keeps you guessing, a terrific turn from Sam Rockwell keeps you caring. It’s a deeply engaging one-man show and, crucially, puts a human face on some seriously hefty themes (memory, alienation, identity). When he finally cries, “I just want to go home,” hearts will break.

Shot in 33 days and working miracles with a $5 million budget, it’s a Sundance movie in outer space and a relief it escaped the studio black hole. Moon asks proper big, stimulating questions about what it means to be human, without being cold, aloof, poncy or even remotely boring. It also looks, in its own wonderfully Airfixy way, fantastic. If you like brainfood served with your eye candy, take the trip.

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Movie Review | 'Moon'

Planet Earth Is Blue and So Very Far Away

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By A.O. Scott

• June 11, 2009

Most science-fiction movies these days are lavish, large-scale spectacles, delivering the thrills of interplanetary travel or dystopian speculation at the risk of grandiosity and cartoonishness. In a film like J. J. Abrams’s “Star Trek,” or on television’s “Battlestar Galactica,” outer space can seem awfully crowded. “Moon,” Duncan Jones’s modest, haunting first feature, offers something of an antidote, presenting a vision of life beyond Earth that emphasizes claustrophobia and loneliness.

Filmed on soundstages at Shepperton Studios in England, “Moon” is an exercise in minimalism, paring down a complex futuristic scenario into what is essentially a one-person drama. Or perhaps a drama whose central problem is what a single human identity might entail in a world where both cloning and highly exploitative impersonal labor practices have become commonplace.

Some features of this world are sketched at the beginning, as a mock commercial explains that Earth’s energy problems have been solved by the conversion to a fuel abundantly present in lunar soil. Sam Bell (Sam Rockwell), an employee of the company that extracts this resource, is reaching the end of his three-year stint as the only human inhabitant of a remote mining station. Or so it appears.

To say too much might ruin some of the surprises in this film’s spare, carefully inflected plot, which in its structure, its themes and its parsimonious exposition may remind you of a Ray Bradbury short story. Sam is not entirely alone. His companion is a computer named Gerty, whose creepy kinship with HAL 9000 from “2001: A Space Odyssey” feels even more sinister because Gerty speaks in the sardonic deadpan of Kevin Spacey. And back on Earth a wife (Dominique McElligott) and baby daughter check in now and then via video recordings because direct communication is temporarily out of service.

Or not. As his health declines and the day of his departure approaches, Sam discovers that his life on the Moon is, essentially, a fiction. He is aided in this discovery by a double, another Sam Bell, whose slight differences of temperament and attitude allow Mr. Rockwell to pull of an astonishing feat of technique, playing his own rival, foil and buddy.

And Mr. Jones, who is no doubt tired of reading that his father is David Bowie, demonstrates impressive technical command, infusing a sparse narrative and a small, enclosed space with a surprising density of moods and ideas. The gleaming white interior of the facility where Sam lives and works is at once antiseptic and a little funky, battered and smudged by the disorder that is an inevitable byproduct of human habitation.

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• Sony Pictures Classics

Summary It is the near future. Astronaut Sam Bell is living on the far side of the moon, completing a three-year contract with Lunar Industries to mine Earth’s primary source of energy, Helium-3. It is a lonely job, made harder by a broken satellite that allows no live communications home. Taped messages are all Sam can send and receive. Thankfu ... Read More

Directed By : Duncan Jones

Written By : Duncan Jones, Nathan Parker

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‘Moon’ Review: A Former MMA Fighter’s Dream Job Comes With a Dark Side in Slow-Burn Thriller

Splitting between small-town Austria and the ultra-wealthy in Jordan, Kurdwin Ayub’s elliptical film leaves viewers with more questions than answers (but in a good way).

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Soon, it becomes clear that Sarah skipped due diligence about the country, its customs and the family she is working for. Driven each day to a grand but isolated villa on the outskirts of Amman, she finds the three Al Farahadi sisters that she is supposed to train to be oddly listless. Nour (Andria Tayeh), Shaima (Nagham Abu Baker) and Fatima (Celina Antwan) never leave home except for bodyguard-accompanied trips to the mall. And they don’t even have wi-fi. Home-schooled, catered to by maids and under near-constant surveillance, they have little to occupy themselves apart from applying makeup, watching soap operas or performing their prayers.

Some parts of the film feel a bit clunky, particularly the fact that Sarah keeps wandering upstairs to the off-limits part of the villa, in spite of the consternation it causes and the menacing looks she receives from the Al Farahadi factotum (Amar Odeh). However, the relationship between the sisters and their interactions with Sarah feel spot on. The film’s only humorous moment occurs when the make-up crazy Fatima tries to use Sarah like a living doll.

Cages, no matter where they are, constitute the underlying theme of Ayub’s screenplay. She explores the physical and metaphorical cages a person might want to leave and the ones they might wish to return to.

As the physically strong, but not especially empathetic, Sarah, first-time film actor Holzinger (known for her choreography and performance art) perfectly embodies a foreigner out of her depth. The distaff Jordanian cast are heartbreaking. The naturalistic camerawork of DoP Klemens Hufnagl (who shot Sudabeh Mortezai’s “Joy” and “Europa”) keeps a tight focus on Sarah and contrasts the visual differences between Austria and Jordan.

Reviewed at Sarajevo Film Festival (In Focus), Aug. 20, 2024. (Also in Locarno, competing). Running time: 92 MIN. (Original title: Mond)

• Production: Executive producer: Ulrich Seidl.
• With: (Austria) Florentina Holzinger, Andria Tayeh, Celina Antwan, Nagham Abu Baker, Omar Almajali, Tanya Ivankovic, Amar Odeh. (German, English, Arabic dialogue)

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Movie Review: Moon (2009) — A Mind-Bending Sci-Fi Thriller.

Ozaifa Rose

“Moon” (2009), directed by Duncan Jones, is a thought-provoking science fiction film that takes audiences on a solitary journey with Sam Bell (played by Sam Rockwell), a man stationed on a lunar base extracting a crucial resource for Earth.

As Sam nears the end of his three-year contract, strange occurrences and a series of unsettling discoveries start to unravel the fabric of reality. The film explores themes of isolation, identity, and the ethical implications of advanced technology.

Plot Overview: The story begins with Sam Bell, an astronaut stationed on a lunar facility operated by the company Lunar Industries. The facility’s purpose is to extract a valuable energy source called Helium-3 from the moon’s surface to alleviate Earth’s energy crisis. Sam is nearing the end of his three-year contract and longs to return home to his wife and daughter.

As Sam goes about his routine, he starts experiencing peculiar incidents, including hallucinations and a mysterious signal disrupting communication with Earth.

One day, while on a lunar rover mission, he crashes and discovers an injured doppelganger of himself inside the wreck. The mystery deepens as the two Sams realize they are identical clones with the same memories up until the accident.

“Explore the top movie lists across all categories — click here. ”

As the original Sam and his clone investigate, they uncover the shocking truth: Lunar Industries has been using clones to run the lunar operation, each with a three-year lifespan before succumbing to physical and mental deterioration. The company harvests the clones’ memories and experiences to train the next batch, maintaining the illusion of continuous service by a single individual.

Original Sam, struggling with his failing health, teams up with his clone to expose the unethical practices of Lunar Industries.

Together, they try to find a way to Earth to expose the truth to the authorities and, in the process, confront the moral dilemma of their existence and the consequences of the corporate pursuit of profit at any cost.

Themes and Interpretation: “Moon” delves into the ethical and existential questions surrounding cloning, corporate greed, and the consequences of playing with human life. The film raises thought-provoking questions about identity, individuality, and the nature of consciousness. It explores the emotional toll of isolation and the moral implications of sacrificing individual lives for the greater good.

The film’s atmospheric tone, coupled with Sam Rockwell’s compelling performance, creates a tense and introspective experience. “Moon” challenges viewers to reflect on the limits of technology, the ethical responsibilities of scientific advancements, and the potential consequences of unchecked corporate power.

In the end, “Moon” invites the audience to ponder the blurred lines between humanity and artificial existence, leaving them with a haunting sense of introspection long after the credits roll.

Written by Ozaifa Rose

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“Fly Me to the Moon” lurches wildly from zippy, retro rom-com to cynical political satire to weighty, remorseful drama and back again. Tonally messy and overlong, director Greg Berlanti ’s film ultimately squanders the considerable charms of its A-list stars, Scarlett Johansson and Channing Tatum , who are individually appealing but have zero chemistry with each other. 

Johansson is especially charismatic here as  Kelly Jones , a late-’60s ad executive who gets plucked from a Manhattan agency to sell the space program to the American people. She’s Don Draper in a pink pencil skirt – and all hail costume designer Mary Zophres, the longtime Coen brothers' collaborator, who has amassed a truly dazzling array of mid-century chic ensembles for these actors to wear. The shadowy government figure who approaches Kelly in a bar about the gig ( Woody Harrelson , playfully menacing in a fedora) comments on how useful her beauty is in her line of work. But her ability to read people and figure out what makes them tick makes her even more formidable.  

Watching Kelly transform herself from one moment to the next into whoever she needs to be to get her way provides the primary source of joy in Berlanti’s film, based on a screenplay by Rose Gilroy . Is she a compulsive liar? Perhaps. But she’s also extremely good at her job. 

Which is why her supposed romantic connection with Tatum’s launch director Cole Davis makes no sense, beyond the fact that these are both inordinately gorgeous people. Kelly and Cole meet cute one night in the neon glow of a Cocoa Beach, Florida, diner; the next day, they have an awkward moment straight out of “ Top Gun ” when they realize they’ll be forced to work together. But Cole wants no part of Kelly’s shenanigans; a brilliant pilot who should have been an astronaut himself, he’s all business, and he remains consumed by the tragedy of Apollo 1 even as the Apollo 11 moon mission looms large on the horizon. He's kind of a drag.

Snappy banter is crucial to this kind of screwball romantic comedy. “Fly Me to the Moon” aims for the kind of sparks we’ve enjoyed in all those  Rock Hudson and Doris Day  classics. Here, it often feels like Johansson and Tatum are in entirely different movies. She’s effervescent and fearless; he’s stoic and apprehensive. Interestingly, Chris Evans originally was meant to play Cole, and would have been a much better fit, only partly because he and Johansson are longtime friends in real life. There’s a lightness required here that Tatum can’t seem to summon, although that's also because it's missing on the page. And later in the film, when Kelly and Cole sit down to reveal their demons to each other, the movie grinds to a halt for these tedious exposition dumps. 

Cole would be particularly irate to learn that part of Kelly’s assignment includes hiring a director and actors to fake the moon landing on a soundstage in case the real one fails. This, of course, has been a conspiracy theory for decades, including the notion that Stanley Kubrick himself was at the helm – the inspiration for a couple of flat, throwaway jokes here.  Jim Rash chews up the scenery as a wildly flamboyant but frustrated filmmaker who finally gets the chance to show off his artistry, even if no one can know about it. He definitely knows what movie he’s in – or at least, what movie this could have been. 

From here, “Fly Me to the Moon” gets bogged down in multiple endings, with a back-and-forth as to what’s real and what’s fake that eventually becomes jumbled. It keeps going and going past what might have been a natural conclusion, spelling out motivations and developments that would have been more intriguing if they’d been left to our imagination. Berlanti’s movie is far more effective as an upbeat farce than a poignant drama, and at well over two hours, the last 30 minutes or so feel like an eternity.  

Capable supporting players like Ray Romano and Anna Garcia can only do so much through all these highs and lows with the thin characters they’re given. And Colin Jost of “Saturday Night Live” – who happens to be Johansson’s husband – is truly terrible in the briefest of cameos as a senator she’s trying to woo for his support. It’s such a hammy performance, though, that it almost seems intentional. 

Still, this scene is indicative of the confusion that serves as the film’s wobbly throughline. Is this a comedy or a drama? Is it nostalgia or historical critique? Things keep catching on fire amid the chaos of “Fly Me to the Moon,” and maybe that’s the most apt metaphor of all. 

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

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Film credits.

Fly Me to the Moon (2024)

Rated PG-13

132 minutes

Scarlett Johansson as Kelly Jones

Channing Tatum as Cole Davis

Woody Harrelson as Moe Berkus

Jim Rash as Lance Vespertine

Ray Romano as Henry Smalls

• Greg Berlanti
• Rose Gilroy

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What You Need To Know:

(PaPa, B, ACap, PC, LLL, VV, S, N, M) Strong slightly mixed pagan worldview with light moral elements, plus some implied anti-capitalist content and a politically correct joke is made about illegal immigration; 44 mostly strong obscenities (including many “f” words), nine strong profanities and three light profanities; some strong violence with blood includes man injured inside lunar vehicle, lunar vehicles crash, two men fight, and man’s bloody injuries seem to get worse instead of heal; astronaut on the moon has a dream of sex with his wife on Earth; brief upper and rear male nudity; no alcohol; no smoking; and, lying and deceit by bad employer.

More Detail:

MOON is a beautiful-looking science fiction movie that’s also an intense character study. There is plenty of strong foul language and brief sexual content, however, which require extreme caution.

The story opens in the near future on the moon. Astronaut Sam Bell (played by the talented Sam Rockwell) lives alone on the far side of the moon to complete a three-year contract with Lunar Industries to mine Earth’s primary source of energy, extraction of Helium-3, a real substance that could be used for clean nuclear fusion. Sam’s only company is Gerty, the computer that runs the station (voiced by Kevin Spacey). Sam’s time is almost up, however, and he longs to reunite with his wife and young daughter back on earth.

Sam’s mental and physical health suddenly starts to deteriorate. This leads to a nearly fatal accident on a routine check-up of some mining equipment outside.

While recuperating back at the base (with no memory how he got there), Sam meets a younger clone of himself. They realize they are both clones. As the older Sam is dying, his younger clone tries to escape from the moonbase and head to Earth.

Despite its lower budget, this independent movie has excellent special effects. It also is an intimate character study.

Though MOON is well acted and doesn’t lack for personal drama, it leaves some questions unanswered. Also, since the human characters involved are clones with fake memories, the emotional depth of the movie leaves a bit to be desired. The issues at stake for the characters are also slightly undermined.

MOON also contains plenty of strong foul language and a brief, but not very explicit, sex scene. Thus, extreme caution is warranted.

Though they are obviously very different movies in many ways, MOON could have learned a few things about writing a better, cleaner science fiction script from Pixar’s WALL-E.

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Fly me to the moon.

• Common Sense Says
• Parents Say 1 Review
• Kids Say 4 Reviews

Common Sense Media Review

Charming revisionist-history dramedy has language, brands.

Parents Need to Know

Parents need to know that Fly Me to the Moon is a dramedy that blends fact and fiction as it ponders whether faking the moon landing in the 1960s was actually the U.S. government's secret Plan B. Scarlett Johansson stars as Kelly Jones, a charming, talented marketing specialist hired to ensure that Americans…

Why Age 12+?

NASA advertising campaigns include the astronauts posing with Omega watches and

Occasional strong language includes one "f--k" and several uses of "s--t," plus

Adults frequently smoke cigarettes. They also drink wine, beer, and cocktails (m

References and flashbacks to the fatal disaster of Apollo I, in which three astr

The two main characters exchange heated looks, flirt, and eventually kiss. There

Any Positive Content?

The story is about teamwork and integrity, as well as how marketing can blur the

Cole is an intelligent, empathetic launch director, and he's honest to a fault,

The NASA launch center was historically nearly all-White in 1969 (one report say

Products & Purchases

NASA advertising campaigns include the astronauts posing with Omega watches and endorsing Tang juice powder, Fruit of the Loom underwear, Hasselblad cameras, and American car companies like Ford (Mustang), Kellogg cereal. Cole drives a Chevy Camaro. Other brands visible include Sony television, TWA, Tab soda, Holiday Inn, Boeing, and Macallan whiskey.

Occasional strong language includes one "f--k" and several uses of "s--t," plus "a--hole," "ass" "son of a b---h," "b---h," "damn," "goddamn," "hell," "bulls--t," and "oh my God."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Adults frequently smoke cigarettes. They also drink wine, beer, and cocktails (martinis) at dinners and events, and champagne and whiskey during a celebration.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Violence & Scariness

References and flashbacks to the fatal disaster of Apollo I , in which three astronauts died.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

The two main characters exchange heated looks, flirt, and eventually kiss. There are a few passionate kisses. Supporting characters have a crush on each other and are later seen dancing and hugging.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Positive Messages

The story is about teamwork and integrity, as well as how marketing can blur the line between advertising and outright lying. An idea is presented that the United States had to win the space race or the Soviets would be seen as defeating freedom. There's initially a bit of "the ends justify the means," until the end when it's clear that the journey is important. Also has themes of communication and perseverance.

Positive Role Models

Cole is an intelligent, empathetic launch director, and he's honest to a fault, unwilling to lie or stretch the truth even when it would be better for his career and goals. Kelly is a brilliant marketer and publicist, but she's comfortable with lying, particularly about her background and identity. Until the end of the movie, she believes the ends justify the means. The president's man, Moe, is secretive and shady. Supporting characters are encouraging, intelligent, and kind problem-solvers.

Diverse Representations

The NASA launch center was historically nearly all-White in 1969 (one report says that only seven Black NASA employees were part of the Apollo program), and the cast and crew are predominantly White. There's one Black engineer, Stu (Donald Elise Watkins), and a couple of Black background characters. One key supporting character, movie director Lance (Jim Rash), is identified as gay; his boyfriend is mentioned in passing. Kelly is a single, well-respected marketing specialist who lands accounts based on her pluck and ability to read people. She and her assistant, a younger woman, both have agency, and Kelly has decision-making powers.

Did we miss something on diversity? Suggest an update.

Parents need to know that Fly Me to the Moon is a dramedy that blends fact and fiction as it ponders whether faking the moon landing in the 1960s was actually the U.S. government's secret Plan B. Scarlett Johansson stars as Kelly Jones, a charming, talented marketing specialist hired to ensure that Americans endorse NASA and the space race, even after the Apollo I disaster. She's forced to work with Cole Davis ( Channing Tatum ), launch director for the Apollo 11 mission to the moon. They're attracted to each other and exchange heated looks, flirt, and eventually kiss. Occasional strong language includes one "f--k," plus "s--t," "bitch," "a--hole," "goddamn," and more. Adults frequently smoke cigarettes and routinely drink alcohol during receptions and dinners. Violence is limited to references and flashbacks to Apollo I . Expect lots of product placement of brands including Omega, Tang, Kellogg, Ford, Chevy, and more. Families may want to research after watching to discover which aspects of the story are fact and which are fiction. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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• Parents say (1)
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Based on 1 parent review

Good movie that shows how amazing humans can be!

What's the story.

In FLY ME TO THE MOON, it's the 1960s, and Kelly Jones ( Scarlett Johansson ) is a smooth-talking New York City advertising and marketing specialist who can land big deals mostly by pretending to be whomever her (male) clients will listen to most—like pregnant and married, for example, when she's neither, or flirtatious and confident, when she's both. One day, a mysterious man named Moe Berkus ( Woody Harrelson ) approaches Kelly at a bar with an offer she can't refuse: President Nixon (whom Berkus represents) needs her to help turn NASA's public image around because the United States can't afford to lose the space race to the Soviet Union, particularly in the face of the Vietnam War and the aftermath of the Apollo I catastrophe. Once in Cape Canaveral, Kelly has a meet-cute with Cole Davis ( Channing Tatum ) in a diner, a brief but memorable exchange that shakes Cole up when he realizes the next day that she's the new, disruptive presence in the office—and she discovers that he's the Apollo 11 launch director. As Kelly uses her marketing skills to get the Apollo 11 astronauts into countless articles and national ad campaigns, Moe comes to her with a classified subtask: She must hire a director and use Secret Service agents as actors to stage the moon landing, just in case the real astronauts are unsuccessful.

Is It Any Good?

This crowd-pleasing historical dramedy has heart, humor, and two charming leads. In his sophomore directorial feature, Greg Berlanti , working from a script by Rose Gilroy, blends an opposites-attract period workplace romcom with a historical space-race drama and a movie-within-a-movie comedy. While not all aspects of Fly Me to the Moon work equally well—the romance spends a lot of time on the back burner while Kelly and Cole run around putting out figurative (and occasionally literal) fires—overall this is a fun and surprisingly funny movie (the latter mostly thanks to Jim Rash , who plays Lance, the hilariously exacting director Kelly hires to prep the fake landing). Tatum is believable as a military pilot turned NASA launch director whose sense of honor is at direct odds with Kelly's capacity to lie (whether about her name, her alma mater, her accent, or pretty much anything) to get what she wants. In addition to Rash, who's a gifted comedic actor, notable supporting characters include Harrelson as the know-it-all, "this never happened" Nixon operative; Ray Romano as Cole's second in command; and Anna Garcia as Kelly's younger, progressive assistant, Ruby.

Fly Me to the Moon isn't a film to see for historical accuracy when it comes to the Cold War, what did and didn't happen leading up to the Apollo 11 launch, or the history of NASA. There are plenty of other biographical and historical dramas for that. And, yes, it's a bit odd to play into a real conspiracy theory about the moon landing, but that's part of the humor. This isn't Apollo 13 or The Right Stuff , nor does it strive to be that kind of fact-based drama. Frankly, the only women in those movies were supportive wives, so there's a certain joy in one that centers around a pioneering (if fictional) woman whose appeal is so broad and intelligence so keen that she can (nearly) always get her way. For some history swirled into a romcom, this is a winner.

Talk to Your Kids About ...

Families can talk about the way that Fly Me to the Moon blends historical fact with fiction. Does the movie make you want to learn more about the history of NASA, the Apollo program, and the space race?

The film takes liberties with historical events. Do you think movies based on real events need to be historically accurate?

Which of the movie's characters demonstrate teamwork , integrity , perseverance , and communication ? Which ones don't? Do they come into conflict with each other?

What do you think about the idea that the United States had to win the space race at all costs? What do you think would have happened if Apollo 11 hadn't successfully landed on the moon?

Movie Details

• In theaters : July 12, 2024
• On DVD or streaming : August 13, 2024
• Cast : Scarlett Johansson , Channing Tatum , Woody Harrelson , Jim Rash
• Director : Greg Berlanti
• Inclusion Information : Gay directors, Female actors, Gay actors, Female writers
• Studio : Columbia Pictures
• Genre : Comedy
• Topics : STEM , Friendship , History , Space and Aliens
• Character Strengths : Communication , Integrity , Perseverance , Teamwork
• Run time : 132 minutes
• MPAA rating : PG-13
• MPAA explanation : some strong language, and smoking
• Last updated : August 16, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Book Review: Moon Unit Zappa memoir rides messy legacy of father’s genius on journey to self-love

This cover image released by Dey Street shows “Earth to Moon” by Moon Unit Zappa. (Dey Street via AP)

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Moon Unit Zappa got the question a lot, particularly during the “Valley Girl” years: “What was it like growing up with Frank Zappa for a dad?”

The eldest daughter of the quirky and unconventional musical visionary, who died at 52 in 1993, gives the world an extended, nuanced, often funny, many times painful answer to that question in her new memoir, “Earth to Moon,” to be released Tuesday.

The book’s title carries the power of her life’s journey. Her mother, Frank’s second wife Gail, often used the phrase to scold her as a child — “Earth to Moon, the earth doesn’t revolve around you” — but as Moon, now 56, matures, it comes to symbolize the grounding energy of appreciating her place on the planet. She punctuates her book with clever, space-themed sections, photos and old journal entries.

“Love yourself, love yourself, love yourself” is one of her “big takeaways.”

Moon Unit’s hurts are many. She describes a childhood wrought with confusion and disappointment, in which she acted to nurture and protect her younger siblings — Dweezil, Ahmet and Diva — even as her own big life questions remained largely unaddressed by her preoccupied father and volatile mother.

Take sex. She was regularly exposed to her father’s scantily clad groupies, nudity around the house and being able to hear her parents’ love-making (and arguing) through the walls, yet had no clue how to use a tampon. It was the same with money. Although Moon accrued a nest egg from her and her father’s Grammy-nominated 1982 hit “Valley Girl” large enough to buy her own house (“Like, omigod!”), she never had “normal” childhood experiences like allowance and chores and struggled to hold a steady job.

Growing up in 1970s Hollywood meant hanging with plenty of fellow celebrities, though. Actors Justine and Jason Bateman are friends, they know Michael J. Fox as “Mike,” her brother Dweezil dates Molly Ringwald (and later VJs on MTV), and, in one hilarious scene, she chases her heartthrob, Jon Bon Jovi, to a fundraiser only to discover they’re star-crossed. Moon also relieves her stress by attending live comedy shows with the likes of newcomers Chris Rock and Janeane Garofalo.

In his 1989 “The Real Frank Zappa Book,” Frank admits he’s grumpy, has a bad attitude toward “typical familyism,” has no “friends,” and no time for “social activities.” (Quote marks, his.) “I do, however, have a wonderful wife and four totally unbelievable children, and that, folks, is way better,” he writes. Frank Zappa explains that he chooses to treat his children like people — as in, like adults — and believes, “Whatever they’re going to do in life, they’s going to do regardless of home instruction.”

Moon Unit describes those traits left her with a yearning — for more of his time, his attention, his validation. She and her mother frequently clash as they navigate Frank’s long absences, affairs, and occasional bomb drops (say, a possible run for president, or “Moon, I have cancer.”)

In one poignant episode, Moon describes being a child and being overcome with a fear of death. She dares to venture to Frank’s basement lair to seek her father’s comfort and he rebuffs her, telling her just not to think about it. Back in her room, she imagines what it would be like to be her dad and just not be afraid. She listens to his music and pretends he’s telling her a story.

“I listen to the notes of his song-story and my breathing slows down. My body feels heavy now,” she writes. “My eyes close to the night and the dark. I keep listening and let my daddy’s music wrap around me like tangled seaweed, and the music and my steady heartbeat intertwine until sleep pulls me under.”

Perhaps her biggest disappointment is her mother’s now well-publicized decision to make Ahmet and Diva “the sole and exclusive managers of all business” related to Frank after her death. She and Dweezil were given no rights to decisions about the family home, their father or their last name, which prompted deep soul-searching.

Moon says she remains estranged from her two youngest siblings, and for different reasons from Dweezil, but she writes that she is finding her way to healing. She is a mother, a writer, an actor, a comic, an artist, a podcaster and a “tea baroness.”

Among the things that she’s learned is that growing up doesn’t end when you become an adult. She writes, “The way out is through. Make peace with what hurts and head toward joy.”

AP book reviews: https://apnews.com/hub/book-reviews

'Blink Twice' Review: Channing Tatum Is Sinister and Charming in Zoë Kravitz’s Directorial Debut

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The Big Picture

• Kravitz's debut offers some refreshing twists on the #MeToo thriller, diving deeply into a specific aspect of patriarchal oppression.
• The film has issues with pacing and struggles to find a unique identity.
• The movie is at its best when it fully leans into its dark premise.

Greta Gerwig . Emerald Fennell . Jordan Peele . It’s always fascinating to see actors turn their attention to writing and directing. Not only do they already have a unique and intimate understanding of filmmaking, but oftentimes, their experiences in the industry itself influence the kind of projects they make. This is true of Zoë Kravitz ’s debut, Blink Twice , as she’s said her experience growing up in rooms filled with powerful people — as well as the industry’s #MeToo movement — inspired this story. While her first outing as a writer-director is a mixed bag, Kravitz shows undeniable potential to join the ranks of performers who are equally exciting behind the camera as in front of it .

Blink Twice

When tech billionaire Slater King meets cocktail waitress Frida at his fundraising gala, he invites her to join him and his friends on a dream vacation on his private island. As strange things start to happen, Frida questions her reality.

What Is 'Blink Twice' About?

Blink Twice begins with our protagonist, Frida ( Naomi Ackie ), relatably scrolling through videos on her phone when she comes across an interview of tech billionaire Slater King ( Channing Tatum ) apologizing for past transgressions and committing to becoming a better person. The way he plans to do that, he says, is by spending time on an island he bought, going to therapy, and working on self-improvement there .

Frida and Slater quickly hit it off while she and her friend Jess ( Alia Shawkat ) are working as waiters at one of his lavish events, culminating in him extending an invitation to said private island along with a group consisting of a Survivor -style reality show alum named Sarah ( Adria Arjona ), two other model-esque women named Camilla ( Liz Caribel ) and Heather ( Trew Mullen ), and party bros Cody ( Simon Rex ), Tom ( Haley Joel Osment ), and Lucas ( Levon Hawke ). With bottomless champagne, expensive perfume in their bathrooms, and lazy days spent by the pool, it seems too good to be true — and it is. What originally seemed like paradise proves itself to be anything but , and Frida and Jess must attempt to unravel the conspiracy and piece together what’s really going on before it’s too late.

'Blink Twice' Has a Pacing Problem

Blink Twice is full of gorgeous shots, with Adam Newport-Berra ’s cinematography giving the setting an immersive and utopian vibe. It’s a visual vacation, the shots of the delicious dinners a feast for the eyes as much as the characters’ stomachs. At a point, however, even the most gorgeous images start to get repetitive. While part of the Groundhog Day feel is undoubtedly intentional, we spend an unnecessarily long time in the establishing honeymoon phase, making the first half of the film drag . The main foreshadowing that things may not be as they seem comes in the form of the island workers repeating ominous phrases that Frida can’t understand — a plot device that’s convenient and cliché at this point.

When things do take a turn, it’s abrupt, lacking buildup that would make for a smoother, more natural elevation of the stakes. The film half of the film hinges on the friendship between Frida and Jess, but that dynamic seems all but dropped after a bombshell moment and doesn’t have a satisfying resolution afterward. The very ending, too — one that acts as an epilogue of sorts — is unearned. Though the boldness of the twist is admirable, not enough seeds are planted to justify it, coming off as rushed and gimmicky as it stands.

But while the film doesn’t stick the landing and has a bit of a bumpy road to get to its tense climax and shocking revelations, when we do start diving into that section, we’re all in. Kravitz isn’t afraid to go dark — really dark — and the film’s all the better for it. She manages to create truly sickening, depraved beats of horror while being careful to never show too much or linger too long so that it veers into exploitative or gratuitous territory — not an easy line to walk when you’re working with subject matter like this. Kravitz does a good job making you laugh with the satirical aspects, but she’s exceptional when it comes to making you squirm with the scary side of things , evoking rapid heartbeats and sweaty palms as she builds a suffocating sense of anticipation and uncertainty.

'Blink Twice' Feels Like a Collage of Other Films — With a Small Twist

Blink Twice struggles to find its own identity, as about a dozen comp films cropped up in my mind throughout its 103-minute runtime. There are shades of psychological thrillers about being trapped a la Get Out and Don’t Worry Darling , female revenge movies like Ready or Not and Promising Young Woman , and class satires in the vein of Glass Onion and Triangle of Sadness . Because of that, it never feels wholly original or revolutionary . Its central themes of patriarchal oppression and rape culture have been covered before in countless projects in more unique ways.

However, Blink Twice does contribute something somewhat new to the conversation by choosing to focus on a surprising aspect of this topic. The film gets specific by exploring fawning as a defense mechanism and the special kind of hell it is to be forced into using it. “Men are afraid that women will laugh at them,” Margaret Atwood famously said. “Women are afraid that men will kill them.” Blink Twice takes this to the extreme, magnifying the everyday circumstances women find themselves in — smiling back at creepy men on the street so they don’t retaliate with a knife to the throat, giving out a fake number so you don’t get stalked, forcing a chuckle when you’re told an inappropriate joke so hurt feelings don’t escalate into violence.

'Blink Twice' Features a Bevy of Excellent Performances

Ackie and Arjona are phenomenal at playing the aforementioned conflict of emotions , portraying a false sense of exuberant bliss on the outside with palpable terror simmering right underneath the surface, threatening to break free. The more panicked they become, the more calm, cool, and collected they have to act — an incredible challenge they each rise to and, at times, even exceed.

The entire ensemble is given their moments to shine, but Tatum and Geena Davis emerge as the other two standouts . Tatum uses the natural charm that’s served him in many a romance film to his twisted advantage here, easily pulling us in even when we suspect something more sinister might be involved. It’s a delight to see Davis show off her comedic chops, as she gets some of the biggest laughs as the overworked right-hand-woman to Slater’s highly particular whims. She also adds interesting depth and perspective once things start going off the rails in an Aunt Lydia -type role.

Blink Twice might not break entirely new ground, but it does offer a slightly different perspective on the sun-soaked, well-worn path it trods. While the pacing could be improved and the final moments aren’t altogether consistent with what it sets up, the majority of the bold, anxiety-inducing third act and an array of compelling performances can make you forgive it. It’s not a perfect debut for Kravitz, but it’s an intriguing one to be sure. I look forward to seeing her grow and refine her talents to tell the other stories she must have up her sleeve.

Zoë Kravitz’s debut struggles with pacing but provides some refreshing twists on the #MeToo thriller.

• The film is genuinely terrifying when it fully leans into its dark premise, diving into lesser-explored elements of patriarchal oppression.
• Ackie, Arjona, Tatum, and Davis give compelling and layered performances, with their comedic chops offering some welcomed levity.
• The cinematography is gorgeous and immersive throughout.
• The movie struggles with pacing, with the first half dragging and the ending too abrupt.
• It calls to mind a myriad of other films, never feeling wholly original.

Blink Twice comes to theaters in the U.S. starting August 23. Click below for showtimes near you.

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Rebel Moon - Part One: A Child of Fire

When a peaceful settlement on the edge of a distant moon finds itself threatened by a tyrannical ruling force, a stranger living among its villagers becomes their best hope for survival. When a peaceful settlement on the edge of a distant moon finds itself threatened by a tyrannical ruling force, a stranger living among its villagers becomes their best hope for survival. When a peaceful settlement on the edge of a distant moon finds itself threatened by a tyrannical ruling force, a stranger living among its villagers becomes their best hope for survival.

• Zack Snyder
• Kurt Johnstad
• Shay Hatten
• Sofia Boutella
• Djimon Hounsou
• 2K User reviews
• 185 Critic reviews
• 31 Metascore
• 2 wins & 3 nominations

Top cast 99+

• Atticus Noble

• (as Doona Bae)

• Darrian Bloodaxe

• (as Ingvar Sigurðsson)

• (as E. Duffy)

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• Trivia Zack Snyder first conceived this as a Star Wars movie, and pitched it to Lucasfilm shortly after it was bought by Disney in 2012, but it never got off the ground.
• Goofs The shape of the floating platform on Gondival [at 1:52:00] changes depending on where it is viewed from. When Noble lands on it, and later Kora (and all shots from above, and of their fight) it is octagonal, or eight-sided - i.e. five edges are often in the shot, two of which are parallel; but in all the shots from underneath (as when Kora falls over the edge) it is shown as hexagonal, or six-sided; however it cannot be both.

Tarak : [after Nemesis has slayed Harmada] Wow. That was... That was amazing.

Nemesis : Do not celebrate this. There's no honor in this. This could easily be any of you lying here in the gutter of some forgotten world in the name of revenge. You would do well to remember that.

• Alternate versions On August 2nd, 2024, Netflix released an R-rated director's cut of the film, titled Rebel Moon - Part One: Chalice of Blood. This version runs for 205 minutes (3h 25m) and features more violence, language and sexuality which were removed from A Child of Fire.
• Connections Featured in Drunk 3po: Rebel Moon, Ahsoka, with Special Guest Michael Bancroft | Drunk3po Live (2023)
• Soundtracks Thunderous Written and Performed by Diego Stocco

User reviews 2K

• Dec 21, 2023

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• December 21, 2023 (United States)
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• Official Netflix
• Rebel Moon - Parte 1: La niña del fuego
• Stockholm, Sweden
• Grand Electric
• The Stone Quarry
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• $90,000,000 (estimated)

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• Runtime 2 hours 13 minutes
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Rebel Moon Lands 23% Rotten Tomatoes Score, Critics Take Aim At ‘Banal’ & ‘Bewildering’ Space Opera

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• Critics have issues with Zack Snyder's approach to the space opera in the disappointing Rebel Moon - Part One , calling it derivative and lacking in compelling characters.
• Some reviewers highlight the passion and visuals in Rebel Moon , but feel that the movie is overwhelmed by its own self-importance and lacks a coherent plot.
• Overall, Rebel Moon - Part One receives low ratings and is seen as a stale retread of better material, leaving critics underwhelmed and disappointed.

The reviews for director Zack Snyder’s original, big-budget, sweeping Netflix space epic Rebel Moon – Part One: A Child of Fire are now. And, sadly, things are not looking good. Rebel Moon – Part One: A Child of Fire has debuted at just 23% on the review aggregator site Rotten Tomatoes , with many critics taking aim at Snyder’s disappointing approach to the space opera.

While MovieWeb’s own Julian Roman found some enjoyment in the action sequences, he took issue with the sheer amount of Snyder’s patented slo-mo and the story’s derivative nature.

“The relatively simple plot has a one-note ensemble of ragtag revolutionaries that struggle to resonate with the audience. Initially slick action sequences become banal from the excessive use of slow motion cinematography. We've seen this all before and unfortunately done better [...] the film isn't remarkable in any regard. It's a stale retread of better material and with dull characters. Kora and the gang aren't interesting. You don't root for them and that's a weak foundation to build on.”

David Rooney of The Hollywood Reporter felt similarly, describing Rebel Moon as “leaden” and felt disappointed that the filmmaker has once again leaned into his worst tendencies .

“Just seconds into the leaden sci-fi saga Rebel Moon Part One: A Child of Fire, it’s clear the director is back to indulging his worst tendency for self-serious bombast.”

Variety’s Owen Gleiberman, meanwhile, did find Rebel Moon to be perfectly watchable, but felt it would be best suited for already established fans of the divisive director.

““Rebel Moon,” while eminently watchable, is a movie built so entirely out of spare parts that it may, in the end, be for Snyder cultists only.”

Robbie Collin of The Daily Telegraph was simply astounded at how, after an apparent two decades, Rebel Moon – Part One: A Child of Fire could feel so pointless.

“That even after a reported 20 years in the making the film still feels fundamentally pointless isn’t just disappointing, it’s entirely bewildering.”

RogerEbert.com’s Simon Abrams gives Rebel Moon just one out of four, comparing the movie to a pitch.

““Rebel Moon” often looks more like an animated pitch for a movie than an actual movie with human characters, urgent drama, emotional stakes, and so forth.”

The low ratings continue with The Guardian’s Charles Bramesco, who says Snyder largely “mistakes exposition for world-building.”

“Snyder mistakes exposition for world-building, the lugubriously delivered reams of backstory removing the audience from the fantasy rather than immersing them in it.”

RELATED: Zack Snyder's Rebel Moon R-Rated Cut "Shouldn't Exist" According to the Director

It’s Not All Negative When It Comes to Rebel Moon

There have been some positives, however, with Total Film’s Neil Smith praising the passion and visuals.

“Snyder’s passion project risks becoming subsumed by its own self-importance, but delivers bombastic mayhem and grandiose visuals by the bucket-load.”

Screen Rant’s Rachel LaBonte, while critical of the movie overall, did commend the sheer level of ideas on display .

“With Rebel Moon, Zack Snyder is positively bursting with exciting ideas, but they lack compelling characters and a solid plot to hold them up.”

JoBlo's Chris Bumbray concludes by calling Rebel Moon – Part One: A Child of Fire a “very solid” addition to the space opera genre.

“While undeniably derivative (more of The Magnificent Seven/ Seven Samurai than Star Wars), Rebel Moon is nonetheless wildly entertaining and a very solid space opera.”

While we await the audience response, David Ehrlich of indieWire sums up the critical reaction.

“A movie that feels like a million isolated storyboards without a single thing welding them together.”

Rebel Moon – Part One: A Child of Fire is due to debut on December 21, 2023, on Netflix. A sequel, Rebel Moon – Part Two: The Scargiver , is set to be released on April 19, 2024. Check out the trailer below:

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First reactions land for Zack Snyder's Netflix movie Rebel Moon

Sofia Boutella and Charlie Hunnam appear in the space epic.

The first film in a planned trilogy takes place in a universe controlled by the corrupt Mother World, where the feared Imperium rules over the galaxy with an iron fist.

One former member of this brutal armed force, Kora ( SAS: Rogue Heroes ' Sofia Boutella), abandons the Imperium and bands together with rebels from across the galaxy to fight against tyranny.

The ensemble also features Shazam! Fury of the Gods star Djimon Hounsou as rebel general Titus, Sons of Anarchy 's Charlie Hunnam as the mercenary Kai and Infinity Pool 's Cleopatra Coleman as rebel recruit Devra.

Related: Zack Snyder's Rebel Moon confirms runtime ahead of Netflix release

Like most of Zack Snyder's filmography, Rebel Moon has been divisive among those who have seen the film early.

"Okay #RebelMoon is quite simply epic," GamesRadar 's Molly Edwards wrote . "Massive scale, beautiful visuals (of course), awesome action, and some really fascinating mythology. There's lots of exciting set-up for what's to come, but it's still very satisfying as its own movie. Jimmy has also stolen my heart."

Insider 's Kirsten Acuna described the film as feeling "like a love letter to Star Wars ".

"Can def see the nods," she added . "Wanted more of some characters (Djimon Hounsou). Ed Skrein is the scene-stealer in this one."

Related: Why Rebel Moon was rejected as a Star Wars movie, and how it ended up on Netflix

Critic Sheraz Farooqi said Rebel Moon was "packed with Snyder's visual flair and style" and a "great intro to this universe".

Why Now 's Maria Lattila came away with mixed feelings : "Oh, are we allowed to talk about #RebelMoon now? Visually very handsome and flows well but suffers from Part One Syndrome.

"I would be lying if I said I wasn’t keen on The Scargiver now though!"

Others criticised Snyder for focusing more on action than developing the characters in Rebel Moon .

Comic Book Movie 's Mark Cassidy explained : "I wish I could say that I loved or even liked #RebelMoon, but after a promising first act, it launches itself off a cliff. Zack Snyder is more concerned with 'cool' action scenes than establishing and ensuring we're invested in his characters."

Film critic Linda Marric took issue with some of the performances: "Rebel Moon, a film in which characters start the film speaking in one accent and end it in a completely different one."

Next Best Picture 's Matt Neglia said Rebel Moon left him feeling "detached", adding: "Zack Snyder's clunky execution makes even the most basic drama feel tedious. Derivative sci-fi with unimpressive slow-mo action and dull characters."

Related: First look at Game of Thrones star in Zack Snyder's Netflix movie Rebel Moon

Earlier this year, Snyder revealed that his pitch for Rebel Moon started as a Star Wars movie in the early 2010s before he realised it was better as an original mythology.

"There was that window where, you know, who knows what's possible?" he recalled. "I was like, 'I don't want any of your characters. I don't want to do anything with any known characters, I just want to do my own thing on the side.'

"And originally I was like, 'It should be rated R!' That was almost a non-starter."

Rebel Moon: Part One will be released on Netflix on December 22, Part Two: The Scargiver will premiere April 19, 2024.

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Screen Rant

Fly me to the moon review: i want more movies like this, hollywood.

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Fly Me To The Moon True Story: Did NASA Really Film A Fake Moon Landing As A Back-Up?

Longlegs vod release date confirmed after nicolas cage horror movie's record breaking box office run, mark wahlberg to star in remake of 2023 comedy movie.

• Fly Me to the Moon is a nostalgic, stylish rom-com set during the Space Race era, with strong performances from Channing Tatum and Scarlett Johansson.
• The film explores the lead-up to the Apollo 11 mission and the relationship between launch director Cole Davis and marketing whiz Kelly Jones, while also addressing conspiracy theories.
• Despite certain pacing issues, the movie's charm, engaging characters, and retro feel make it a worthwhile watch.

Fast-moving, stylishly edited, and packed to the brim with nostalgia for a vital moment in American history, Greg Berlanti's Fly Me to the Moon has a lot on its mind. In many ways, it feels like the classic sort of movie Hollywood is wary of making these days, though I really hope that this Space Race rom-com changes studios' minds. Fly Me to the Moon is far from a perfect movie, but for two hours and 12 minutes, it took me on a journey I thoroughly enjoyed.

Fly Me to the Moon (2024)

Releasing between the animated antics of Despicable Me 4 and disaster flick Twisters, it might seem like the movie is out of place. However, with the 55th anniversary of the Apollo 11 launch on July 16, now is actually the best time for Fly Me to the Moon . The main throughline is simple: Launch director Cole Davis (Channing Tatum) is fiercely determined to get the astronauts up to the moon safely, especially after the Apollo 1 tragedy. While he's focused on that, marketing whiz Kelly Jones (Scarlett Johansson) is brought in to sell America on the moon.

Fly Me To The Moon Is Several Movies At Once

A rom-com, a period comedy, and an alternate history....

The push-and-pull between Cole and Kelly is the foundation of Fly Me to the Moon 's biggest stories: The actual lead-up to the Apollo 11 mission and the opposites-attract romance between honest NASA loyalist Cole and Kelly, who can spin anything into a compelling pitch thanks to some loose morals. As written by Rose Gilroy (with a story from Keenan Flynn and Bill Kirstein), both characters go beyond simple archetypes, and their clashing personalities only make their unfolding relationship even more compelling. It helps that Johansson and Tatum have good chemistry.

On top of the actual history, Fly Me to the Moon plays with the long-standing conspiracy theory that the moon landing was faked, with shady government agent Moe (Woody Harrelson) coming in to ask Kelly to oversee the creation of a faux-landing to broadcast in case the true event goes wrong. It's probably valid to question whether a movie acknowledging a conspiracy theory at a time like this is responsible, but the execution is playful enough that it's easy to forgive.

Fly Me To The Moon puts a comedic spin on the Apollo 11 mission, but did NASA hire a marketing team and fake the moon landing in real life?

For the most part, Berlanti juggles all these plot threads (and their respective tones) pretty well, moving everything along at a zippy pace with the help of Daniel Pemberton's swinging score and Harry Jierjian's retro-styled editing. At a certain point, though, the strain is felt. There were many times I thought the film had reached a suitable endpoint, only to realize there was still more to wrap up. Because I enjoyed the characters and the atmosphere so much, I was willing to forgive the frequent false endings, but the movie felt longer than expected.

Fly Me To The Moon's Supporting Cast Impresses

Even with small parts, they shine.

Fly Me to the Moon is largely being marketed as a two-hander between Johansson and Tatum, and that isn't an inaccurate depiction. Still, the movie wouldn't feel as vibrant as it does without the added talents of its supporting cast. Ray Romano has a surprisingly heartfelt role as Cole's second-in-command, Henry, bringing depth to a character who sometimes disappears from the narrative.

The comedic MVP is Community 's Jim Rash , who elicited the most laughter at my screening with his wry one-liners. He plays Lance Vespertine, the director hired to stage the fake moon landing, and he makes the most of every scene he has. Crucially, Fly Me to the Moon never lost sight of the friendship between Kelly and her assistant Ruby (Anna Garcia). This added a sweet extra layer to the story that, unlike other elements, never felt extraneous, and gave Garcia the chance to make Ruby more than a stock character.

Fly Me To The Moon's Old Hollywood Feel Makes It A Charmer

Even when it gets really silly.

With its glossy, high-budgeted sheen, Fly Me to the Moon could never be mistaken as anything but a 2024 movie, but there's a classic quality to it that had me remembering older rom-coms. I wouldn't ever dare say that Tatum and Johansson's chemistry matches that of Katharine Hepburn and Spencer Tracy, but there were moments where I felt like their banter could fit right in with one of the screen legends' movies. There's a thrill that comes from watching two talented actors firing lines back and forth.

Even when Fly Me to the Moon feels close to bursting with the effort of packing everything in, the two leads ground everything with their earnest performances.

Tatum's Cole has baggage related to the Apollo 1 tragedy, and Johansson's Kelly has skeletons of her own in the closet. Even when Fly Me to the Moon feels close to bursting with the effort of packing everything in, the two leads ground everything with their earnest performances. This is especially helpful when the movie gets a bit too enamored with the slapstick humor, particularly through the recurring use of a black cat. The cat is adorable and does draw laughs, but in a movie that takes a while to wrap up, it doesn't always feel necessary.

Despite certain shortcomings, Fly Me to the Moon has ample charm. In recreating the days surrounding the Apollo 11 mission and the moon landing itself, Berlanti succeeds in evoking feelings of triumph and awe in his audience. This is the kind of movie I'd like to see more of, the kind that wears its heart on its sleeve and takes us on a ride. A meandering ride, sure, but even a long trip can have its perks.

Fly Me to the Moon releases in theaters on Friday, July 12. It is 132 minutes long and rated PG-13 for some strong language, and smoking.

Fly Me To The Moon is a sharp, stylish comedy-drama set against the high-stakes backdrop of NASA’s historic Apollo 11 moon landing. Brought in to fix NASA’s public image, sparks fly between Kelly Jones and Cole Davis’s. When the White House deems the mission too important to fail, Jones is directed to stage a fake moon landing as back-up.

• Fly Me to the Moon has a lot of heart and humor
• The rom-com is elevated by Channing Tatum & Scarlett Johansson's chemistry
• The supporting cast is excellent
• The film is oozing with charm and banter
• Fly Me to the Moon meandered a bit too long before coming to its end