Fly Me To The Moon, the latest crowd-pleaser from director Greg Berlanti, takes audiences on a whimsical ride with Scarlett Johansson and Channing Tatum, against the historical backdrop of the 1960s space race.

Johansson plays Kelly Jones, a quick-witted and ambitious advertising executive tasked with reigniting public interest in the Apollo 11 mission. With the Vietnam War raging and the Cold War in full swing, public enthusiasm for the space programme has dwindled. Kelly’s mission is to craft a campaign that will capture people’s minds, reminding everyone why reaching for the stars is important.

Enter Cole Davis (Tatum), a dedicated but uptight launch director at Cape Canaveral. Cole is laser-focused on the technical aspects of the mission, leaving little room for the frivolous world of marketing. As Kelly and Cole clash and collaborate, the sparks fly but their budding romance is in constant threat of being derailed by the pressures of the impending rocket launch.

Johansson brings a crackling energy to Kelly, flashing her sharp wit and steely determination. Tatum sheds his typical action-hero persona to play the stoic Cole, and his comedic timing in his interactions with Kelly is delightful. While the romance plotline is predictable, their chemistry keeps you glued to their journey.

Their witty banter provides many laugh-out-loud moments.

The supporting cast adds further depth to the story. Woody Harrelson is riveting as a ruthless government official with an agenda, injecting a dose of suspense into the narrative. Ray Romano, though underused, provides some heartwarming moments as a deputy director at NASA. Jim Rash (in what appears to be a nod to Stanley Kubrick) delivers a standout performance as a flamboyant yet frustrated filmmaker who finally gets to showcase his artistic talent, albeit in secret.

Fly Me To The Moon touches upon weightier themes too, like societal anxieties surrounding the space race, the pressure faced by astronauts and their families, and the sacrifices made in the pursuit of scientific progress. The film uses period details and cultural references to evoke a sense of nostalgia for the swinging sixties, but the tonal shifts can be jarring at times — from a retro romcom to a biting political satire and then to a heavy, reflective drama, only to swing back to comedy again.

The film’s climax is confusing in the lead-up to the question of what’s real versus what’s fake. It drags on a previous conclusion, over-explaining motivations and developments that would have been more compelling if left to the viewer’s imagination. At over two hours long, the final 30 minutes feel particularly drawn out.