Shocking Truth Revealed: Apollo 11 Mission Faked in ‘Fly Me to the Moon’? Must See!

“Fly Me to the Moon” may not have all the elements for a perfect cinematic recipe, but the movie, despite its narrative gaps and tonal irregularities, is indeed a pleasure to watch purely for its existence. In an ideal world, this film, set primarily in 1969 around NASA’s Apollo 11 moon landing, could have been a more refined, engaging, and exhilarating experience.

Nonetheless, the general audience might find the movie a delightful throwback – the kind of flashy, star-studded, large-scale film that has been missing from theater screens for quite some time. The possible chemistry between stars Scarlett Johansson and Channing Tatum indeed raises expectations.

The outcome, however, directed by Greg Berlanti (“Love, Simon”) from a script by debutant feature writer Rose Gilroy (based on a story by Keenan Flynn and Bill Kirstein), is a nostalgic attempt at rom-com that disappointingly falls short on both romance and comedy. As the plot unfolds, it becomes as erratic as my Labrador retriever when it spots a squirrel.

Johansson, also a producer of the film, plays Kelly Jones, a New York marketing genius known for bending the truth to close deals. Unbeknownst to her, she is being pursued by Moe Berkus (Woody Harrelson), a covert agent working for President Richard Nixon, who hires Kelly to promote the upcoming moon mission amidst an uncertain and skeptical American public. This is set against the backdrop of the Vietnam War, which has already divided the nation and its voters.

Kelly flies to Florida to set up base at the Kennedy Space Center with her loyal assistant, Ruby (played by Anna Garcia), who despises Nixon. With NASA’s full cooperation, the film was shot there. Soon, Kelly starts turning heads and crafting narratives, working tirelessly to boost the image of the Apollo 11 mission and its astronauts in the minds of Americans and globally.

Enter Cole Davis (Tatum), NASA’s dependable, no-nonsense launch director. An ex-Air Force pilot and denied astronaut, he is haunted by the disastrous Apollo 1 mission. After an awkward encounter with Kelly at a local diner, he is annoyed to find her steadily becoming a key player at Cape Kennedy, making decisions that were once his to make.

The anticipated clash and sexually charged banter between stoic Cole and lively Kelly never quite ignites, nor does the chemistry between the leads. Cole’s initial hostility towards Kelly is so intense that when they eventually start getting along (and even share a kiss), one can’t help but wonder what draws Kelly to him, except perhaps his attractive turtleneck sweaters.

The script tries to provide enough backstory to justify Cole’s gruffness, but it doesn’t make him more likable. Whether it’s the writing or the direction, Tatum’s character appears stiff, even when he shows signs of mellowing down.

The budding romance between Kelly and Cole (and the film’s limited comedy) soon takes a backseat to a plot twist. Moe orders a reluctant Kelly to stage and film a fake moon landing that can be broadcasted worldwide in case the mission fails, especially to save face against their main space-race competitor, the Soviet Union. The visuals would be simulated, but the audio feed would be real. Moreover, everyone involved in creating this “alternate version,” also known as Project Artemis, must vow to keep it a secret. This means that no one outside this secret production, including Cole and the entire NASA team, can know the truth.

This plot turn has many loopholes, but it’s best to just roll with it. It’s a disruptive, albeit intriguing (and completely fictional) twist that plays on the long-standing conspiracy theory that the moon landing was staged.

Regrettably, this subplot shifts the movie into a light action-thriller genre, complicating the storyline, causing a predictable rift between the truth-stretching Kelly and the honest-to-a-fault Cole, and extending the film’s duration unnecessarily.

From a technical standpoint, the movie is enjoyable as it blends memorable archival footage from the actual Apollo 11 mission and its media coverage with vibrant cinematography by Dariusz Wolski, who also plays the fake moon landing’s expert cameraman. The film’s editing, production design, costume design, and sound design and editing teams also deserve acknowledgment for their exceptional contributions.

The film’s extensive cast includes Harrelson, who is a delight to watch as the stealthy Moe manipulating history via Kelly, who hides a few secrets of her own. Ray Romano plays a veteran NASA engineer, Donald Elise Watkins and Noah Robbins charm as a pair of young technicians, and Colin Jost (Johansson’s real-life husband) and Victor Garber make enjoyable appearances as crucial U.S. senators. A nimble black cat also plays a role.

However, Jim Rash’s portrayal of Lance Vespertine, a flamboyantly gay commercial director hired to direct the fake moon landing shoot, is a step backward in the representation of gay men. His over-the-top performance is a puzzling misstep. Comic relief? Not quite.

Oddly, Frank Sinatra’s iconic 1960s hit “Fly Me to the Moon” is missing from the film, which features other decade-appropriate songs like Aretha Franklin’s “Moon River” and the Bee Gees’ “To Love Somebody.” While “Fly Me” is heard in a few other forms, given that Sinatra’s version was played when Buzz Aldrin stepped onto the moon’s surface, its inclusion would have been a guaranteed crowd-pleaser. Perhaps nailing the right formula is indeed as challenging as rocket science.