Fly Me to the Moon

Sparks fly in all directions as marketing maven Kelly Jones, brought in to fix NASA’s public image, wreaks havoc on Apollo 11 launch director Cole Davis’ already difficult task of putting a man on the moon. When the White House deems the mission too important to fail, Jones is directed to stage a fake moon landing as backup, and the countdown truly begins.

Credits: TheMovieDb.
Fly Me to the Moon
Overview:
Sparks fly in all directions as marketing maven Kelly Jones, brought in to fix NASA’s public image, wreaks havoc on Apollo 11 launch director Cole Davis’ already difficult task of putting a man on the moon. When the White House deems the mission too important to fail, Jones is directed to stage a fake moon
Cast:

• Kelly Jones: Scarlett Johansson
• Cole Davis: Channing Tatum
• Moe Berkus: Woody Harrelson
• Henry Smalls: Ray Romano
• Lance Vespertine: Jim Rash
• Ruby Martin: Anna Garcia
• Stu Bryce: Donald Watkins
• Don Harper: Noah Robbins
• Walter: Christian Clemenson
• Buzz Aldrin: Colin Woodell
• Neil Armstrong: Nick Dillenburg
• Michael Collins: Christian Zuber
• Senator Hopp: Gene Jones
• Senator Vanning: Joe Chrest
• Jolene Vanning: Stephanie Kurtzuba
• Senator Cook: Colin Jost
• Edvard: Dariusz Wolski
• Chuck Meadows: Peter Jacobson
• Ella: Lauren Revard
• Wolfie’s Joe: Njema Williams
• Neil Brown: Gary Weeks
• Phil Hunley: Todd Allen Durkin
• Kelly’s Photographer: Christian Grey Moore
• Fake Neil: Kade Pittman
• Zack Tanner: Chris Vroman
• Senator Hedges (uncredited): Victor Garber
• Secret Service Agent (uncredited): Kyle S. Brown

Crew:

• Producer: Scarlett Johansson
• Producer: Jonathan Lia
• Story: Keenan Flynn
• Director: Greg Berlanti
• Set Decoration: Laura Wallgren
• Makeup Artist: Dawn Angeletti
• Makeup Artist: Merc Arceneaux
• Prosthetics Sculptor: Matthew W. Mungle
• Makeup Department Head: Deborah La Mia Denaver
• Supervising Art Director: Leslie McDonald
• Hairstylist: Larraya Bynum
• Art Department Coordinator: Deborah Jurvis
• Art Direction: Sean Falkner
• Art Direction: Kristen Nowotarski
• Hair Department Head: Lawrence Davis
• Makeup Artist: Dhyana Forte
• Makeup Artist: Deborah Rutherford
• Set Designer: Alan Farkas
• Utility Sound: Keegan Osburn
• Music Editor: Darrell Hall
• Additional Hairstylist: Deborah Brozovich
• Art Direction: Artie Contreras
• Production Design: Shane Valentino
• Production Design: David Batchelor Wilson
• Set Designer: John Isaac Watters
• Costume Design: Mary Zophres
• Hairstylist: Lance Aldredge
• Editor: Harry Jierjian
• Hairstylist: Charmaine Balcerzak
• Makeup Artist: Amber Crowe
• Makeup Artist: Matt Sprunger
• Additional Second Assistant Director: Davey Sawitzky
• Set Designer: Michael C. Biddle
• Set Dresser: Rusty Grimes II
• Sound Designer: Erick Ocampo
• Special Effects Coordinator: Wayne Rowe
• Costumer: Lauren Driskill
• On Set Dresser: Aaron Robert Hall
• Boom Operator: Rob Disner
• Set Costumer: Jocelyn Walker
• Makeup Artist: Don Rutherford
• Makeup Artist: Haile Werntz
• Assistant Set Decoration: Lizbeth Ayala
• Assistant Property Master: Kip Bartlett
• Property Master: Philip Schneider
• Sound Designer: Laurent Kossayan
• Costumer: Kristen Kadel
• Second Second Assistant Director: Cam Everson
• Second Assistant Director: Robert S. Hoffman
• Utility Sound: Kurdice Neal
• ADR Supervisor: Daniel Saxlid
• Boom Operator: David Stark
• Transportation Coordinator: Steven Docherty
• Additional Editor: Kaylee Karlik
• Casting: Chase Paris
• Leadman: Jameson Buston
• Concept Artist: Victor James Martinez
• Props: David Soukup
• Assistant Location Manager: James Troutman
• Key Makeup Artist: Mazena Puksto
• Makeup Artist: Leo Satkovich
• Hairstylist: Derrick Spruill
• Set Designer: David Moreau
• Location Manager: Stacey McGillis
• Costumer: Dustin Fletcher
• Extras Casting: Rose Locke
• Extras Casting Assistant: Robb Pendleton
• Storyboard Artist: Nick Pelham
• Script Supervisor: Amber Harley
• Concept Artist: James Carson
• Set Dresser: Emmalee Muller
• Sound Mixer: Christopher Mills
• First Assistant Sound Editor: Linda Yeaney
• Location Scout: Andi Behring
• Assistant Location Manager: Laura M. Blair
• Location Manager: Maida N. Morgan
• Assistant Location Manager: Benjamin Sutton
• Key Costumer: Mallory Bradley
• Costumer: Aimee McCue
• Set Dresser: Blade Ladish
• Assistant Set Decoration: Shelley Zortman
• Assistant Editor: Jenny Lindamood
• Costumer: Anya Peregrino
• Stunts: Michael Hugghins
• Second Unit Director: Bradley Parker
• Graphic Designer: Sarah Stimpson
• Special Effects Technician: Lee R. LaCaille
• Extras Casting Assistant: Patrick Rokn
• Extras Casting: Melanie M. Moreno
• Production Assistant: Sybil Kim
• Set Decoration Buyer: Rachel Bell
• Set Designer: Forest P. Fischer
• Special Effects Coordinator: Matt Dengel
• Special Effects Technician: Jeremy Zamora
• Assistant Location Manager: Zabdiel Arocho
• Extras Casting: Mario Xavier
• Unit Production Manager: Christian Agypt
• Art Department Coordinator: Rachel Argo
• Assistant Property Master: Carolina Barros
• Set Designer: Timothy M. Earls
• Set Dresser: Brett Fahle
• Assistant Art Director: Rebecca Runyon
• Set Designer: Yu Kil-won
• Sound Mixer: Matthew Nicolay
• Costume Supervisor: Donna O’Neal
• Extras Casting: Jamie Lynn Catrett
• Casting Assistant: Tasha Ward
• Stunts: Diana Upp Warner
• Lighting Technician: David Besh
• First Assistant “B” Camera: Trevor Rios
• Key Grip: Steven Serna
• Casting: Tara Feldstein Bennett
• Extras Casting Assistant: Bailey Vetterick
• Best Boy Electric: Mike Davidson
• Camera Operator: Caleb Holland
• Utility Stunts: Eric Salas
• Digital Compositor: Caroline Delgado
• Script Supervisor: Annie Thompson
• Location Assistant: Brooks Reynolds
• Stunts: Amanda Bradley
• Stunts: John Dixon
• Drone Operator: Minseo Joo
• Still Photographer: Tammy Middleton
• Chief Lighting Technician: Joshua Stern
• Grip: Dominic Goodie
• Second Assistant “B” Camera: Kevin Wilson
• Stunt Double: Jewelianna Ramos-Ortiz
• Drone Pilot: Louie Northern
• Lighting Technician: Alex Wahoski
• Utility Stunts: C.C. Ice
• VFX Director of Photography: James Dornoff
• VFX Production Coordinator: Brian Drewes
• Additional Camera: Brian Rosso
• Utility Stunts: Ryan Green
• Digital Compositor: Laurens Vermeulen
• Video Assist Operator: Javier Diaz
• Still Photographer: Daniel C. McFadden
• “B” Camera Operator: Jesse Roth
• Second Assistant “C” Camera: Katrienne Soulagnet
• Video Assist Operator: Stephen Stumberg
• Rigging Gaffer: David Shakibanasab
• Stunts: Peter Wallack
• Aerial Camera: Peter Graf
• Dolly Grip: William D. Wynn
• Visual Effects Producer: Beth Howe
• Visual Effects Producer: Shwee Chou
• Stunts: Josh Mueller
• First Assistant “C” Camera: Daniel Guadalupe
• Visual Effects Coordinator: Sydney Berman
• Stunts: Dena Sodano
• Additional Grip: Conor Daily
• Effects Supervisor: Edward Ferrysienanda
• Steadicam Operator: Ramon Engle
• Best Boy Electric: Ken Palladino
• Visual Effects Supervisor: Sean Devereaux
• Visual Effects Supervisor: Mark Owen Forker
• Visual Effects Supervisor: Brian Houlihan
• Visual Effects Coordinator: Kym McCann
• Digital Imaging Technician: Ryan Nguyen
• Visual Effects Supervisor: Scott Winston
• Aerial Director of Photography: David B. Nowell
• Rigging Grip: Daniel Vlahos
• Visual Effects Producer: Jacob Eaton
• Visual Effects Coordinator: LaNeisha Watson
• Visual Effects Coordinator: Samantha Slaughter
• Producer: Sarah Schechter
• Executive Producer: Bob Dohrmann
• Screenplay: Rose Gilroy
• Original Music Composer: Daniel Pemberton
• Director of Photography: Dariusz Wolski
• Special Effects Makeup Artist: Nix Herrera
• Story: Bill Kirstein
• Storyboard Artist: Anthony Winn
• Visual Effects: Josephine Allegretti
• Stunt Coordinator: Renae Moneymaker
• Second Unit Director: Heidi Moneymaker

Catogories:
Romance,Comedy
These add-ons are nice!

Will they make history… or fake it?
Language:
English
Production:
United States of America
Company:
These Pictures,Berlanti Productions,Apple Studios
Popularity:
88.153
Date:
2024-07-10
Year:
2024

• CinemaSerf: “Cole Davis” (Channing Tatum) is the launch director at Cape Canaveral and is charged with getting the Apollo 11 mission to the moon (and back!). Thing is, with the Vietnam war in full swing the public have rather lost interest in the space race with the USSR. Presidential adviser “Moe” (Woody Harrelson) hits on the idea of bringing in marketing specialist “Kelly” (Scarlett Johansson) to spruce things up and get the public – and the US Senate – more engaged with the project before it runs out of money and impetus. She’s pushy and brassy and “Cole” hates her! Thing is, though, he also starts to realise that she’s not half bad at the hoodwinking game and seems to be making some headway engaging sponsors and senators alike with the aspirations of Messrs. Armstrong and Aldrin to set foot in the Sea of Tranquility. With public interest piqued, “Moe” realises that the last thing they need is a flop, so he tells “Kelly” to create a moonscape and get in her favourite director – “Lance Vespertine” (Jim Rash doing his best Stanley Tucci) to essentially make their own, terrestrial, version of the landings that can be shown to the public should the worst case scenario actually occur. With her and “Cole” becoming closer and the launch date now imminent, it’s soon clear that this isn’t just a contingency plan – and that might finally present the unflappable “Kelly” with a moral dilemma she can’t easily shrug off. What to do? It’s quite entertaining, this, with Johansson clearly enjoying herself playing a myriad of parts within her character and there’s a decent spark with the better than usual Tatum as the story swipes at politics (largely thanks to a playfully devious effort from Harrelson) and advertising whilst we learn that she is not quite the woman she seems to be. At times the writing is quite funny and the whole thing offers lunar conspiracy theorists (and the disbelieving Soviets) the perfect opportunity for the mother of wet dreams. There’s plenty of rocket photography and though maybe just twenty minutes too long, this is one of Apple’s better and more creative efforts. You just have to love that mischievous black cat at the end!
• r96sk: Not for me. I found ‘Fly Me to the Moon’ to be a disappointment.

  A sure sign of that being the case is that I don’t have any positives for this movie. Well, OK, Scarlett Johansson is good, but there honestly isn’t any other element to this that I can say I enjoyed. Johansson’s co-star Channing Tatum feels miscast, I like the guy as an actor but here I didn’t feel like he fit – visually his character didn’t look or sound like someone out of the 1960s, in my eyes at least.

  None of the support cast did anything for me either, though Woody Harrelson and Ray Romano are passable. Away from the cast, the story also didn’t hold much interest for me. I feel like the moon landing bits, generally speaking, is all pretty standard and stuff we’ve seen before. The romance plot isn’t merged in well, I didn’t sense any chemistry between Johansson and Tatum. The music is also quite weak, almost TV-esque.

  The run time is also too long, no way this 2024 flick needed to last over two hours! If I ignore all of that, then I guess I enjoyed it…

• Louisa Moore – Screen Zealots: “Fly Me to the Moon” is so generic and sanitized that it feels like a blanket, sterilized television sitcom designed to appeal to the masses in middle America. Director Greg Berlanti‘s throwback romance has its moments, but even the chemistry between the leads a few flashes of creativity can’t save the overlong, draggy film.

  Set against the backdrop of NASA’s historic Apollo 11 moon landing in 1969, former con artist Kelly (Scarlett Johansson) is hired by President Nixon’s clandestine staff member Moe (Woody Harrelson) to launch a marketing campaign on a mission that the White House has deemed too important to fail. Kelly has a huge job cut out for her, and her fiery personality, unconventional methods, and out-of-the-box ideas to fix the space agency’s public image wreaks havoc on the straight-laced launch director, Cole Davis (Channing Tatum). She’s in his way and is a major annoyance, but even Cole can’t deny the sparks that are flying whenever the two are in the same room.

  The film works as a mid-level romantic comedy with Johansson and Tatum sharing an agreeable chemistry that, while not exactly electric, at least feels organic. Their playful banter and genuine affection shines, providing some of the film’s most enjoyable moments. It’s a classic odd couple pairing that adds much-needed comedic elements.

  The script is messy and forgettable, with a lot of ineffective bids at humor. The most charming aspects are burdened by unnecessary subplots that detract from the main story, making the entire film feel far too long. Certain scenes drag on and on, especially when relying on clichés, predictable plot points, and tired tropes that fail to fully capitalize on the unique setting and wealth of historical context. So much more could’ve been done with this material in a much better way.

  Although it provides some decent lighthearted entertainment, “Fly Me to the Moon” plays it so safe that it definitely falls short of its potential. It’s overstuffed and bland to a fault, struggling so mightily to be a crowd pleaser that it squanders most of the charm and authenticity that could have made it something truly special.

  By: Louisa Moore / SCREEN ZEALOTS