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You’d think a movie in which Adam Driver fights a bunch of dinosaurs couldn’t possibly be boring, but that’s exactly what “65” is.

This is a movie that would have benefitted from being a whole lot stupider. The big-budget sci-fi flick—which reportedly cost $91 million to make and was featured in a Super Bowl ad—should have embraced its inherent B-movie roots. Instead, it tries to juggle a wild survival story with a poignant family drama, but both elements feel so rushed and underdeveloped that neither ends up registering. There’s nothing to these characters, and the action sequences quickly grow repetitive and wearisome. There’s a jump scare, insistent notes from an overbearing score, some running and screaming, the gnashing of teeth, and maybe an injury before a narrow escape. Over and over and over again.

But the film from the writing-directing team of Scott Beck and Bryan Woods , whose credits include co-writing “ A Quiet Place ” with John Krasinski , offers an intriguingly contradictory premise. It takes place 65 million years ago, but suggests that futuristic civilizations existed back then on planets throughout the universe. On one of them, Driver stars as a space pilot named Mills. He’s about to embark on a two-year exploratory mission in order to afford medical treatment for his ailing daughter ( Chloe Coleman from “ My Spy ,” who’s featured in the film’s prelude and sporadic video snippets).

On the way to his destination, the ship Mills is flying enters an unexpected asteroid field, gets torn to shreds, and crashes. All of the passengers in cryogenic sleep are killed—except one, who just happens to be a girl around the same age as his daughter. Her name is Koa, and she’s played by Ariana Greenblatt . And the planet, which has swampy terrain reminiscent of Dagobah, just happens to be—wait for it—Earth.

“65” requires Mills and Koa to schlep from the wreckage to a mountaintop so they can commandeer the escape pod that’s perched there and fly out before dinosaurs can stomp and chomp on them. The creatures can be startling at times, but at other times they look so cheesy and fake, they’re like the animatronics you’d see at a Chuck E. Cheese restaurant. And yet! It almost would have been better—or at least more entertaining—if “65” had leaned harder into that silliness if it had played with the basic ridiculousness of mixing complex technology with the Cretaceous period. They rarely use Mills’ advanced gadgets in any inspired ways within this prehistoric setting. The few attempts at humor fall flat—they mainly consist of Koa making fun of Mills for being uptight—and moments of peril wrap up too tidily for us to luxuriate in their anxiety.

Worst of all, Driver doesn’t get to ham it up nearly enough here. He’s an actor of great intensity, which can be both thrilling and amusing if he’s amping it up in a knowing way. Imagine him screaming “More!!!” as he’s blasting Luke Skywalker in “ Star Wars: The Last Jedi ,” or punching a wall during an argument in “ Marriage Story .” But the man he plays in “65” is blandly heroic and just seems generally annoyed. Greenblatt, meanwhile, does the best she can with a character we know absolutely nothing about. Koa speaks a language that’s not English, so most of her exchanges with Mills consist of mimicking the basic words he says to her, including “family.” There’s no real bond between them, but neither is there any sort of prickly tension since they’re stuck with each other. “The Last of Us,” this is not.

Beck and Woods offer some clever camerawork here and there, but also some erratic editing choices. And they borrow quite a bit from the “ Jurassic Park ” franchise: a giant footprint in the mud or a dinosaur’s yellow eye leering menacingly through a window. But maybe that’s inevitable at this point. Their film only gets truly enjoyably nutty toward the end, with its climactic combination of a sneaky quicksand patch, a ravenous Tyrannosaurus rex, a well-timed geyser eruption, and a catastrophic asteroid shower. But by then, it’s too late for us—and the planet.

Now in theaters.

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.

Rated PG-13 for intense sci-fi action and peril, and brief bloody images.

Adam Driver as Mills

Ariana Greenblatt as Koa

Chloe Coleman as Nevine

Nika King as Alya

Bryan Woods

Cinematographer

Salvatore Totino
Chris Bacon

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‘65’ Review: What on Earth?

Millions of years ago, a guy from another planet landed on this one. Like most survivors, he had a moody little girl with him.

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In a film scene, a man and a young girl stand in a dense forest, looking worried.

By A.O. Scott

To paraphrase an old Monty Python sketch , nobody suspects the Cretaceous-Tertiary Extinction.

Certainly the poor dinosaurs didn’t, though for their more obsessive present-day human fans the fact that this movie is called “65” — as in million years ago — might count as a spoiler. When Mills the space pilot crash-lands on a muddy, reptile-infested Earth after his vessel is hit by an asteroid, you might have an inkling of the larger disaster in store.

I don’t mean the movie; that would be unkind. “65,” directed by Scott Beck and Bryan Woods (two writers of the first “Quiet Place” film), is not interesting enough to be truly terrible or terrible enough to be halfway interesting. As Mills, Adam Driver does a lot of breathing and grunting as he runs a gantlet of familiar dangers. In addition to the T. rexes and other saurian menaces, he faces quicksand, large bugs, falling rocks, malfunctioning equipment and the withering judgment of a 9-year-old girl.

But let’s back up a second. Who are these people, and how did they get to our planet before (if I may quote the opening titles) “the advent of mankind”? The answer is that they belonged to an ancient extraterrestrial civilization, one sufficiently advanced to have invented not only space travel, but the usual array of futuristic sci-fi technology.

Their health care system was pretty bad, though. Mills’s adolescent daughter, Nevine (Chloe Coleman), suffers from a persistent, apparently life-threatening cough, and the only way he can afford her treatment is by taking on a high-paying “long-range exploratory mission.” He’s already grief-stricken when the asteroid hits, cleaving his spaceship in two and killing all of his cryogenically frozen passengers except one, a girl named Koa (Ariana Greenblatt).

The folks on their home planet, realistically enough, speak more than one language, so Koa and Mills — whose native idiom is English — can’t communicate very well. Also, he’s a grumpy, unhappy man and she’s a moody girl, so we’re on familiar survival-story terrain. “65” is a little like “ The Last of Us ,” but with dinosaurs instead of mushrooms and no obvious sociological theme that would sustain a think piece.

Which would be to its credit, if it managed to be a simple, effective action movie. Or science-fiction movie. Or scary movie. Or something. Like Mills’s emotional back story, the special effects seem to have been pulled out of a box of secondhand ideas. Nor is the execution all that impressive. There’s little in the way of awe, suspense or surprise. Just a quickly hatched plan to get off this God-forsaken planet and leave it to its fate.

65 Rated PG-13. Dinosaur blood and prehistoric curses. Running time: 1 hour 33 minutes. In theaters.

A.O. Scott is a co-chief film critic. He joined The Times in 2000 and has written for the Book Review and The New York Times Magazine. He is also the author of “Better Living Through Criticism.” More about A.O. Scott

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‘65’ Review: Adam Driver Battles Dinosaurs and Other Stone-Age Story Ideas in Derivative Thriller

'A Quiet Place' writers Scott Beck and Bryan Woods direct a prehistoric adventure that feels like it's 65 million movies in the making.

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Reviewed at Thalberg Screening Room, Los Angeles, March 9, 2023. MPA Rating: PG-13. Running time: 93 MIN.

Production: A Sony release of Columbia Pictures presentation of a Bron Creative, Raimi Prods., Beck Woods production. Producers: Sam Raimi, Deborah Liebling, Zainab Azizi, Scott Beck, Bryan Woods. Executive producers: Maryann Brandon, Doug Merrifield, Jason Cloth, Aaron L. Gilbert.
Crew: Directors, writers: Scott Beck & Bryan Woods. Camera: Salvatore Totino. Editors: Josh Schaeffer, Jane Tones. Music: Chris Bacon
With: Adam Driver, Ariana Greenblatt, Chloe Coleman.

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10 Mar 2023

Given they are the subject of the one-time biggest box-office hit in history ( Jurassic Park , naturally), it’s a wonder that Hollywood hasn’t embraced dinosaurs more. Bringing the wildest dreams of small children to life seems like an obvious win for blockbuster filmmakers looking for some paleontological pleasures at the picturehouse; special effects wizards like Ray Harryhausen and Phil Tippett once kept them alive in the cinematic imagination but these days, outside of the ongoing Jurassic series, big-screen dinosaurs are a rare beast.

Now, finally, comes this dino-disaster-movie from Scott Beck and Bryan Woods, who have — as with their script for A Quiet Place — sketched another simple but effective sci-fi premise: what if a spaceman from another world crash-landed on our planet, 65 million years ago, at the tail end of the Cretaceous Period? It’s a basic idea which reframes dinosaurs not as the terrible lizards of wonder that captivated young minds in science classes, but deadly, terrifyingly unknown aliens.

This is a very straightforward, efficient kind of blockbuster. Following some rather gloopy exposition back on his home planet which establishes him as a stock-in-trade Sad Dad, Adam Driver ’s Mills crash lands on Earth within ten minutes. There is so little flab here, it is almost skeletal: not counting the prehistoric beasties, there are only four speaking roles, and one of them doesn’t even speak English. That would be Koa (Ariana Greenblatt), Mills’ fellow survivor, quickly taking the role of surrogate daughter for his real one, who is suffering from an unspecified illness (we’ll call it ‘Character Motivation Syndrome’).

65 breaks no new ground. But it is a short, sharp, largely original studio movie.

In the spaceman-falling-to-a-planet-that-turns-out-to-be-ours setup, there are faint echoes of Planet Of The Apes , but Beck and Woods aren’t especially interested in making any kind of satirical commentary on our world, past or present. Instead the film lurches into a lean genre exercise, a survivalist thriller that occasionally draws from the filmmakers’ horror background. The sheer hostility of prehistoric nature means peril is always lurking, the experience always at some degree of stress.

It plays more or less as you might expect: there are problems that require solving; there is a journey requiring the characters to get from A to B; there is, unhelpfully, the odd Tyrannosaurus rex in between those two points. The dinosaurs are fun and frightening (even if — sorry, paleontologists! — none of them have feathers here), and while plot holes loom like falling asteroids, it is at the very least handsomely presented, blending epic landscape cinematography — including lush location shooting in Louisiana's Kisatchie National Forest — with solid, subtle CGI.

It’s also bound together by a typically compelling Adam Driver performance. As he did in three Star Wars films , Driver brings a thoughtfulness to his genre character even when the screenplay doesn’t, a humanistic approach that grounds the bombastic silliness around him. He shares an easy warmth with Greenblatt, too, despite their characters speaking different languages, her character having hailed from the "upper territories" of their home planet. They commit, admirably, to the project at hand.

65 breaks no new cinematic ground, upends no rules, challenges no clichés. But it is a short, sharp, largely original major studio movie, unbound to any franchise or intellectual property — at a time when such a concept is being threatened with extinction. Also, it has a T-Rex in it. Sometimes, that’s enough.

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’65’ review: adam driver fights dinosaurs in an underwhelming sci-fi actioner.

An astronaut from another planet and a little girl find themselves battling dinos on Earth 65 million years ago in this film from the writers of 'A Quiet Place.'

By Frank Scheck

Frank Scheck

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65 review: a simple, bare-bones sci-fi thriller

Adam Driver wears a futuristic spacesuit in 65.

“65 is a simple but effective sci-fi thriller that, thankfully, doesn't overstay its welcome.”

Adam Driver's committed lead performance
A lean 93-minute runtime
Several intense, clever action sequences
A messy, unpolished visual style
An overly familiar story

The new movie 65 is a refreshingly unambitious sci-fi blockbuster.

Written and directed by A Quiet Place writers Scott Beck and Bryan Woods, the film is a straightforward, tight thriller that’s interested in little more than forcing its star, Adam Driver, to repeatedly fight a bunch of dinosaurs and other dangerous prehistoric creatures. The film employs no more visual effects than it absolutely needs, and it consistently makes strong use of its real-life environments and locations — most of which prove to be far more dangerous than they initially seem. In case its tight 93-minute runtime didn’t already make this clear: 65 doesn’t have any franchise aspirations, either.

The film’s world-building is concise and efficiently delivered, and Beck and Woods’ screenplay doesn’t ever seem in danger of becoming obsessed with the kind of fictional minutiae or sci-fi gobbledygook that drag down so many other modern blockbusters. Its safeness and limited scope undoubtedly prevent 65 from rising to any truly great heights. However, there’s also something thrilling about the way 65 calls back to the days in which Hollywood’s sci-fi blockbusters could still be self-contained adventures that ask no more of their viewers than 90 minutes of their undivided attention.

As is alluded to by its title, 65 takes place around 65 million years ago and centers on Mills (Driver), a work-for-hire space pilot from a distant, technologically advanced planet. The film’s simple opening scene establishes Mills’ decision to take on a two-year transport mission in order to pay for the expensive medical treatments needed by his sick daughter, Nevine (Chloe Coleman). In its next scene, 65 catches up with Mills’ fateful mission as it’s upended by an asteroid field that damages Mills’ ship and sends him and his passengers crashing onto a nearby, uncharted terrestrial planet.

In the wake of the crash, Mills discovers that all but one of his cryogenically asleep passengers were killed by the destruction of his ship. Mills finds and wakes up the crash’s only other survivor, a young foreign girl named Koa (Ariana Greenblatt), who unfortunately doesn’t speak the same language as Driver’s skilled pilot. Determined to make sure that Koa gets back home safely, Mills takes her on a multiday journey to his ship’s escape vessel, which landed over a dozen kilometers away from where he and Koa ended up.

Along the way, Beck and Woods reveal that Mills hasn’t crash-landed on just any terrestrial planet, but Earth itself. Mills is, therefore, forced throughout his and Koa’s journey to use his scientifically advanced weaponry to fight off a wide range of deadly prehistoric creatures. In what likely won’t come as much of a surprise to anyone who has seen anything even remotely similar to 65 , Mills and Koa’s journey also results in the two characters gradually forming an intensely trusting, if unconventional, bond.

Despite what its dramatic opening title reveal would like you to believe, 65 is nowhere near as original as it thinks. Driver’s casting as Mills makes the film’s twist on a typical uncharted planet premise easy to accept, and 65 doesn’t have any more truly subversive tricks hidden up its sleeves. The film spends the bulk of its runtime following Mills and Koa as they encounter a series of dangerous creatures and obstacles over the course of their journey together. The film’s straightforward, obstacle-driven structure results in it feeling a bit repetitive in its second and third acts, which only makes the thinness of 65 ’s story feel that much more apparent at times.

There is, however, something uncomplicatedly thrilling about watching 65 ’s heroes come face-to-face with increasingly difficult challenges and still overcome them with their own brute force and intellect. There are moments throughout 65 in which Beck and Woods demonstrate the same knack for action storytelling that they did in A Quiet Place . That’s particularly true of one sequence in which Driver’s Mills is forced to fix his dislocated shoulder before a pack of dangerous, raptor-like dinosaurs get the chance to rip him and Koa apart.

Woods and Beck’s economical approach to 65 ’s story also allows the pair to make the most out of Mills’ various futuristic weapons. The duo often avoids relying on exposition by simply letting viewers watch Mills put his gadgets to use, as he does during one sequence in which he places a series of glowing markers around his and Koa’s camping spot. The character’s decision to place the markers where he does makes their purpose clear long before their yellow, pulsing lights turn red and Mills begins looking around in fear for any approaching creatures.

Beck and Woods’ visual style isn’t nearly as refined as their storytelling. There are numerous moments throughout 65 when the duo’s uneven mix of general coverage shots and dim lighting makes it difficult to maintain a clear sense of the film’s physical spaces. One underground showdown between Mills and an unidentified dinosaur is particularly confusing to watch due to both the overwhelming darkness throughout it and its lack of establishing wide shots. Beck and Woods bring much more control to some of 65 ’s other action sequences, but the duo’s visual style nonetheless comes across as disappointingly rough and messy during certain sections of the film.

Fortunately for it, 65 is luckier than most other Hollywood blockbusters because it’s led by Driver, a performer who is willing to bring the same level of commitment to films like 65 as he does to the more grounded dramas he typically stars in. Driver’s performance as Mills is so unsentimental and to the point that it ensures that the character’s rare moments of emotional vulnerability land with real force. In a way, the cut-and-dry nature of Driver’s performance is ultimately a reflection of 65 itself, a film that understands how even the most pared-down version of a story can still be compelling and entertaining if told with enough passion and focus.

65 is now playing in theaters.

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Violent, by-the-numbers sci-fi/dinosaur movie has gory bits.

65 Movie Poster: Adam Driver holds a weapon and looks alarm as a dinosaur lurks behind him

A Lot or a Little?

What you will—and won't—find in this movie.

Encourages selflessness: One character considers g

Both characters are strong and resourceful; they t

Four characters: Mills (Adam Driver), a White man,

Many are said to have died in cryosleep during cra

A few uses of "s--t." One use of "damn." A use of

Positive Messages

Encourages selflessness: One character considers giving up until he discovers that there's another person to think about.

Positive Role Models

Both characters are strong and resourceful; they take turns helping each other out of scrapes, working to overcome difficult odds.

Diverse Representations

Four characters: Mills (Adam Driver), a White man, is the central character. Young Koa is played by Ariana Greenblatt, who is of Puerto Rican heritage. Mills' wife (seen in prologue), played by Nika King, is Black. Their mixed-race daughter, Nevine, is played by Chloe Coleman, who is of African, Eastern European, and English descent. Mills' insistence on Koa learning English -- rather than trying to understand her language -- supports dominant power structures.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Many are said to have died in cryosleep during crash-landing. Dead bodies lie in a swamp. Girl in peril. Main character shoots laser-like space gun. Splattering dinosaur blood. Explosions. Main character pulls metal shard out of bloody wound. Character attacked by small dinosaur; he bashes it to death with gun butt. Main character falls out of tree; painfully snapping dislocated shoulder back into place. Dinosaur stabbed with pointed tusk. Quicksand. Dinosaur corpse covered in blood and maggots. Burned, gory dinosaur corpse. Red-tinted water sloshing on ship. Fiery crash-landing. Dinosaurs attack and eat one another. Asteroids colliding with ship. Main character briefly considers death by suicide.

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

A few uses of "s--t." One use of "damn." A use of "oh God" while in pain.

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

Parents Need to Know

Parents need to know that 65 is a sci-fi/dinosaur movie about a space traveler named Mills ( Adam Driver ) who crash-lands on primitive Earth and must battle dinosaurs to save his one surviving passenger, Koa ( Ariana Greenblatt ). Expect intense violence: Characters die (their bodies are shown), there's splattering dinosaur blood/gore, and Mills pulls a shard of metal out of his own bloody wound. Mills also shoots a space-laser gun at dinosaurs and bashes a small dinosaur to death with the butt of his gun. There are also explosions and falls from high places, and a character briefly considers death by suicide. A girl is sometimes in peril. Language includes a few uses of "s--t," plus "damn" and "oh God." 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 (7)
Kids say (10)

Based on 7 parent reviews

Dinosaurs look awesome

Decent popcorn flick but huge missed opportunity, what's the story.

In 65, astronaut Mills ( Adam Driver ), from the planet Somaris, agrees to a two-year trip through space, since the increased pay will help cover his daughter's medical expenses. Unfortunately, while he's in cryosleep, the ship is pelted with asteroids and forced to make a crash landing. Only Mills and young Koa ( Ariana Greenblatt ) survive. But somehow, they've ended up on Earth, 65 million years ago, when the dinosaurs roamed. Now they must hike 15 kilometers across a deadly landscape to find the only remaining escape pod. And there's another problem: The asteroid that hit their ship was only a small one.

Is It Any Good?

While this sci-fi/dinosaur movie is competently made, it really only has one good idea, and it doesn't do much with it. The rest is generic and familiar and fails to generate much suspense or emotion. The first thing viewers must accept in 65 is that there's another planet that has inhabitants who speak English and act just like Earth humans. After the crash, we get all the usual CGI dinosaur attacks and jump scares -- all very similar to what we've seen before in the many Jurassic Park / World movies. The screenplay -- following a beat-by-beat, three-act formula -- sets up all the elements it's going to use during the final payoff, and it's all noticeable because there's not much else to think about. But perhaps the oddest touch in this movie is the decision to have Koa speak a different language (she's from a different "district" than Mills). This leads to many scenes of Mills trying to force Koa to learn English words -- which she gamely does -- rather than him trying to understand what she's saying. It's all a bit of a drag, like Land of the Lost with the fun taken out. Ultimately, 65 leaves us feeling dino-sore.

Talk to Your Kids About ...

Families can talk about 65 's violence . How did it make you feel? Was it exciting? Shocking? What did the movie show or not show to achieve this effect? Why is that important?

How does the movie handle the difference in the languages that the characters speak? How does the language barrier affect the story?

How does the movie deal with grief?

Movie Details

In theaters : March 10, 2023
On DVD or streaming : May 2, 2023
Cast : Adam Driver , Ariana Greenblatt , Chloe Coleman
Directors : Scott Beck , Bryan Woods
Inclusion Information : Female actors
Studios : Sony Pictures , Columbia Pictures
Genre : Action/Adventure
Topics : Dinosaurs
Run time : 93 minutes
MPAA rating : PG-13
MPAA explanation : intense sci-fi action and peril, and brief bloody images
Last updated : June 18, 2024

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65 Review: How Is Adam Driver Vs. Dinosaurs This Dull?

It leans more toward “disappointing” than “awful,” but at least “awful” would have made it more interesting..

Scott Beck and Bryan Woods’ 65 is a film with an excellent high-concept premise and a great deal of on-paper potential. Adam Driver has thoroughly proven himself in the last decade to be one of the better talents of his generation, the filmmakers were the screenwriters of the thrilling and successful A Quiet Place , and the idea of having a humanoid alien who crash lands on Earth 65 million years in the past has a lot of exciting promise. Driver vs. Dinosaurs – how bad could it be? As it turns out, the answer to that question isn’t “it’s really bad” so much as it is “it’s surprisingly boring.”

Adam Driver being approached by a T-Rex in 65

Release Date: March 10, 2023 Directed By: Scott Beck and Bryan Woods Written By: Scott Beck and Bryan Woods Starring: Adam Driver, Ariana Greenblatt, Nika King, and Chloe Coleman Rating: PG-13, for intense sci-fi action and peril, and brief bloody images Runtime: 93 minutes

After a clunky, on-screen text-filled opening that sets up the general plot, 65 is never able to move out of neutral and do much with its conceit. Instead of featuring Adam Driver dramatically and creatively fighting for survival and escape while using extraterrestrial technology to fight off our world’s carnivorous, monstrous lizards, the movie settles for developing overused plot devices and character dynamics to unfurl a familiar story with nothing identifiably original to offer audiences.

In 65 , Driver plays Mills, a spaceship pilot from the planet Somaris who agrees to take a two-year long trip across the stars so that he can make enough money to afford treatment for his terminally ill daughter (Chloe Coleman). On the journey back home, the ship Mills is flying encounters a flurry of asteroids that cause it to crash land on an uncharted world. Because the movie can’t find a way to properly communicate the information to movie-goers, a title card delivers the necessary exposition: “65 Million Years Ago, A Visitor Crash Landed On Earth.”

Just as you get excited starting to wonder how the movie is going to narratively function with Mills being all alone on a planet filled with flesh-eating monsters that see him as an exotic meal, the film opts to not even try. It turns out that the protagonist isn’t actually alone, and that there instead is one passenger on the ship whose cryo-pod managed to survive the crash. Mills rescues and wakes up Koa (Ariana Greenblatt), a nine-year-old girl who doesn’t speak the same language as the hero. A la recent shows like The Mandalorian or The Last Of Us or recent movies including James Mangold ’s Logan , George Clooney’s Midnight Sky , and Clint Eastwood’s Cry Macho , Miles if forced to become a surrogate parent for the helpless child and do everything he can to shepherd them to safety.

65 is devoid of any exciting, original, or compelling plot points; it’s all by the numbers action.

A high-tech guidance system tells Mills and Koa that a functioning shuttle is on the top of a nearby mountain and can be used to escape the planet – and while there is nothing inherently wrong with the simplicity of that narrative, the problem is that the movie offers nothing to spice things up and make the story compelling beyond the basics of the circumstance. There are moments where they are attacked by dinosaurs and they temporarily get stuck in places, but they are the plot equivalent of speedbumps because there is no effort made to develop more advanced stakes.

You’d think that at the very least alien technology would be able to spice things up a bit, but the movie is unable to strike a balance between implementing cool, futuristic tools and making sure that Mills and Koa always seem desperate and in danger. The most clever usage of anything is using metal marble-like explosives to try and excavate a cave in which the characters are stuck… and even the results of that are underwhelming and undramatic.

Getting excited about dynamic, different dinosaur action in 65 would be a mistake.

With 65 unable to deliver on the more sci-fi side of the story, one would hope it could hit the gas pedal with the dinosaur action, but it’s just another area where the film falls flat. It’s arguably unfair to compare the movie to the high standard that is Jurassic Park , but you’d think that it would take some lessons about what works in that classic and apply them. A big part of the fun in that franchise is seeing the diversity of species and identifying them from memorable fossils seen in natural history museums. Aside from one herbivore that the characters rescue from a tar pit and a few flying dinos that have no significant presence, there are basically just three kinds of dinosaurs: tiny carnivores, medium carnivores, and giant carnivores.

None of them have special qualities that make them stand out; they might as well just be alien lizards with sharp teeth and claws… which kind of defeats the whole point of the film. To the film’s credit, there is one attempt made at trying to add an extra layer of depth to Mills’ conflict with the dinosaurs, with 65 setting up a “rematch” in the third act with what may or may not be a T-Rex from the second act, but the effort is so minimal and ultimately blink-or-miss-it that I wouldn’t be surprised if a large percentage of audiences don’t pick up on it.

If 65 predated the Jurassic World trilogy and Hollywood’s present obsession with the Lone Wolf And Cub dynamic, it would perhaps be seen to have a lot more merit – but as is, it missed its sweet spot release period by a decade, and as such doesn’t have much to offer. It leans more toward “disappointing” than “awful,” but at least “awful” would have made it more interesting.

Eric Eisenberg is the Assistant Managing Editor at CinemaBlend. After graduating Boston University and earning a bachelor’s degree in journalism, he took a part-time job as a staff writer for CinemaBlend, and after six months was offered the opportunity to move to Los Angeles and take on a newly created West Coast Editor position. Over a decade later, he's continuing to advance his interests and expertise. In addition to conducting filmmaker interviews and contributing to the news and feature content of the site, Eric also oversees the Movie Reviews section, writes the the weekend box office report (published Sundays), and is the site's resident Stephen King expert. He has two King-related columns.

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65 (United States, 2023)

If all you’re looking for out of a movie is Adam Driver running around in a jungle shooting dinosaurs while protecting a young girl, 65 delivers in spades. If you’re hoping for something more complex, either in terms of character development, background narrative, or world-building, the movie has neither the time nor the patience to accommodate. The dino special effects are adequate for the job (better than in 1993’s Jurassic Park but inferior to those in the third installment of the Jurassic World series ) and Driver appears committed to the work. The running length is a svelte 93 minutes, meaning that 65 isn’t around long enough to wear out its welcome. By keeping its goals limited, it’s able to deliver what it promises, and that stands for something. I’ll admit I was more entertained by this high-concept sci-fi adventure than half the films I have seen thus far in 2023.

In their directorial debut, Scott Beck & Bryan Woods (the writers of A Quiet Place ) keep it simple. The plot could be the template for a video game: get the hero from Point A to Point B without dying. Along the way, there are various impediments that have to be overcome: rockslides, steam geysers, quicksand, and (of) course dinosaurs. 65 mixes in an Aliens - inspired subplot about a lone, grieving adult “adopting” and orphaned young girl. At no point, however, does Adam Driver say to any of the dinosaurs, “Get away from her, you bitch !”

One could argue that 65 is real throw-back – all the way back to the 1920s and 1930s, when monster movies could enthrall and amaze. The first two-thirds of King Kong , after all, focused on explorers wandering around a prehistoric jungle and encountering dinosaurs. 65 has all the advantages of modern technology but it’s not significantly more sophisticated than the movies of Willis O’Brien. This is the kind of production that provides a couple of memorable moments (the T-Rex “reveal,” which is spoiled by the trailers, being the most notable) but somehow seems smaller than it should. Maybe that’s because we have been trained to expect that a menagerie like this is appropriate only for epics while the most lofty goal 65 can claim is being a slickly-made B movie.

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Stream It Or Skip It: ‘65’ on Netflix, a Bare-Bones B-Movie in Which Adam Driver Dodges Dinosaurs

Where to stream:.

Adam Driver

Stream It Or Skip It: ‘Ferrari’ on Hulu, Michael Mann’s Portrait of a Competitive and Conflicted Man

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Adam Driver headlines 65 (now on Netflix, in addition to streaming on VOD services like Amazon Prime Video ), a keep-it-simple-stupid B-movie in which he plays a marooned space traveler who has to fight dinosaurs in order to survive and also keep them from eating the little girl under his protection. Sam Raimi is a credited producer, and A Quiet Place writers Scott Beck and Bryan Woods direct, so here’s hoping we can squeeze a little fun out of this genre exercise, and it won’t be a dino-bore that just leaves us dino-sore.

65 : STREAM IT OR SKIP IT?

The Gist: Subtitle: PRIOR TO THE ADVENT OF MANKIND (pause) IN THE INFINITY OF SPACE (pause)… it goes on like this for a bit, all overdramatic and silly, about how there were ancient civilizations elsewhere in the cosmos, capable of interstellar travel and such. Then we meet Mills (Driver) as he and his wife (Nika King) watch their daughter (Chloe Coleman) play on the beach on their home planet of Not Earth. The girl’s sick. He’s gotta take a two-year space-excursion gig in order to pay for her treatments, proving that even long long ago in a galaxy far far away, health insurance functioned exactly the way it does now, namely, not worth diddley-dick. Mills and his daughter share a moment, and then he’s off.

WHUMP. CLUNK. Those are asteroids hitting the spacecraft. Mills is the guy piloting the ship while the rest of the passengers are in cryostasis. He runs to the control room and grabs the stick as massive chunks of rock smash and bang off the hull, merciless in their destruction. Sleeping people hurtle into the void. “Emergency landing!” says the female robot computer voice, as if we can’t tell from the moving pictures we’re watching that Mills, by taking a hard turn towards a nearby planet, is doing exactly that. It’s a rough one. He’s gotta pull a chunk of shrapnel out of his side and navigate the slimy mudhole he landed in and figure out where the other piece of the ship is and is that a growling creature in the water over there, its spiny back briefly emerging from the muck? Yep.

Thankfully, he’s got a rifle. He considers pointing it at himself, until he realizes one other person survived the crash, a young girl named Koa (Ariana Greenblatt), but if you want to call her Newt, that’s fine. He puts her over his shoulder and slogs through the mud and spots a giant reptilian footprint. What planet is this? I’ll give you three guesses, although you’ll only need one. Koa awakens, but she speaks a different language so they can’t understand each other, which is great, because if anything gets in the way of a good B-movie sci-fi survival yarn like this, it’s dialogue. Mills uses his little computer gadget to determine that the piece of the ship with a functioning escape vessel is a goodly hike through the jungle and up a mountain, so off they go. Easier said than done, of course, because between the massive bugs and nasty parasites and hungry toothy dinosaurs, life is really finding its f—ing way on this planet.

What Movies Will It Remind You Of?: 65 is Jurassic Park meets Aliens with the stripped-down-premise-meets-big-star formula of Idris Elba Fights A Lion With His Damn Bare Hands movie Beast .

Performance Worth Watching: Like Elba, Driver seems incapable of going through the motions, even in a trivial exercise like this, finding a moment or three of substance for a character who’s otherwise a hasty sketch of a human being.

Memorable Dialogue: In one of those moments of substance, Driver delivers an earnest line-reading when Mills explains to his daughter why he’s leaving for so long: “It’s not because of you. It’s for you.”

Sex and Skin: None.

Our Take: What these Quiet Place guys forgot to add to 65 is an equivalent to the unforgettably intense Emily Blunt Gives Birth In A Bathtub While Being Stalked By Monsters Who Can’t See Her But Can Hear Her scene. It’s the kind of thing that gives a well-trod premise the vitality it needs to be more than just a movie about a dude trying not to get eaten to death. That doesn’t mean 65 is unwatchable though; it’s Just Fine in a way that renders it an acceptable 93 minutes of escapism without making you upset that you wasted your time watching it.

Faint praise, I know, but let’s not damn the movie outright. Beck and Woods stir up a few moments of comedy amidst the grim scenario – Mills gotta distract the girl from the potentially dire prospects of this situation – and layer in some amusingly preposterous coincidence to amplify the stakes. Visually, the film ranges from nifty CGI-action dynamics (smallish dinos attacking from all angles, a scary silhouette of a considerably less-small one) to repetitive (lots of set pieces with our protags clambering over plastic rocks), and doesn’t look too cheap.

But, like, what’s the movie about about? The relationship between Mills and Koa, who reminds him of his daughter, the thought of whom makes him despondent? The classic man-vs.-nature struggle? The idea of holding onto hope in spite of difficult odds? Meh. Nothing really sinks its teeth in deep enough to draw blood, metaphorically speaking, of course. What we do get is plenty of dino spectacle, Driver’s attempt to not brood too hard and the nagging underlying assertion that nobody’d be in this mess if Outer Space Blue Cross would’ve made the Mills family’s deductible more affordable. I couldn’t take another movie in which children suffer while their parents argue about billing codes and out-of-network providers with customer service representatives. I’d take the velociraptors over that any day.

Our Call: 65 isn’t going to leave an indelible impression on anyone, but for an it-is-what-it-is movie, you could do a hell of a lot worse. STREAM IT, but maybe wait til it’s out of the paid-rental tier and hits a streaming service.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

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Review: There are ‘65’ million reasons to avoid the new Adam Driver dinosaur space flick

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If you asked the AI program ChatGPT to write a dinosaur/space movie as if Steven Spielberg and James Cameron were trying to make fun of each other, you’d probably still get something more entertaining than the thudding hack job “65,” a movie about as thrilling as watching footage of someone — in this case, Adam Driver and his young co-star, Ariana Greenblatt — on the “Jurassic Park” ride at Universal Studios .

The writers of “A Quiet Place” — Scott Beck and Bryan Woods — are clearly not done with monsters and family and the apocalypse. But this time, as directors too, they’ve decided to take us not forward but back, to when a routine trip went disastrously wrong. Think “Gilligan’s Island.” Not because it’s like “65.” Just because it’s more entertaining than “65.”

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Do you like introductory text that removes that nagging worry that you won’t be expositionally satisfied? Because “65” has that. “BEFORE THE ADVENT OF MANKIND” reads the first. “IN THE INFINITY OF SPACE” reads the next, which is, by the way, set against the backdrop of … space. Just so everything’s clear! And later, after a sentient audience will have guessed from the huge dinosaur footprint that exploratory mission pilot Mills (Driver) has been stranded on a particular planet at a very particular time, here come the words: “A VISITOR CRASH LANDED ON EARTH.” Yes, that “65” refers to the number of millions of years ago. Not, as one might hope, the number of minutes in the film.

Do you like stories about absent dads? Based on the movies, they seem to be an emotional connection between humanity’s meager time on Earth and social systems in long-ago galaxies. (“ChatGPT, add George Lucas in the mix.”) By taking one more gig, Driver’s character not only leaves behind an adoring wife but, more urgently, an adoring and ailing daughter (Chloe Coleman), whose hologram messages of love, longing and increasing sickness are like stabs to his heart as he’s trying to avoid dinosaur teeth stabbing everywhere else on his body. So, if you wanted to give him only one human companion to heighten that guilty-father feeling, out of all the possible cryogenically frozen passengers to survive an inconvenient ship crash, who would you pick? A grandmother? Wrong! “ChatGPT, are you familiar with ‘The Last of Us ’?”

A man carrying a weapon walks into a cave alongside a young woman

Do you like made-up tongues not translated because it’s cuter when an othered figure learns English? Maybe Beck and Woods just didn’t feel like writing dialogue for the girl, Koa (Greenblatt), that would help establish this child as a person beyond at first seeming like a feral creature and then a surrogate daughter. Dialogue is hard! So instead this poor character gets an untranslated language until she can trigger “aww’s” by learning the words “home” and “family” and, with stick figures, inventing cave art.

Do you think Adam Driver can do anything? He might have thought that too, when signing on for this.

Do you believe that dinosaurs have long since outlived their CGI-rendered ability to instill awe and terror? Because the filmmakers seem pretty convinced 172 “Jurassic Park” movies haven’t already been made. Sometimes that kind of innocence inspires reinvention. Sometimes it just means that once majestic, still mysterious and endlessly fascinating creatures begin to feel like faceless goons in a video game.

Do you occasionally wish that studios would run dank-looking movies that seem stripped of color through a Snapchat-like filter that would add bright, rainbow-hued tails, faces, starbursts, pizzazz-y augmentations and the like? I’m not saying there are quickie backlot black-and-white adventure movies from 90 years ago with more visual breadth, color range and compositional tension than “65,” but, OK, well, yes, I am saying that.

Is “65” a hall-of-fame bad movie? No, and that may be its problem. It’s just pedestrian dumb and dull. It drops humans from eons away and ago into an extinction-level event, and instead of being full-on weird and wondrous about it, prefers to be utterly imitative and complacent. Way to extinguish yourself.

'65'

Rated: PG-13, for intense sci-fi action and peril, and brief bloody images Running time: 1 hour, 33 minutes Playing: In general release

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‘65’ Is ‘The Last of Us’ With Adam Driver, Dinosaurs, and Zero Thrills

By David Fear

Attention, anyone who’s ever said they’d gladly watch Adam Driver in anything: You’re about to have that statement put to the test.

The “twist” is, Mills has actually landed on Earth during the Cretaceous Period, and those monsters are dinosaurs . The title refers to how many million years ago Mills landed on our big blue marble. It also happens to be a larger number than the amount of minutes it takes for you to completely lose your patience with this mess. Can’t that ominous comet they keep cutting to in the sky — you know the one — come any sooner?

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The good news is that this is far from an extinction-level event for the A-list talent here; Driver may be forced to push this plodding sci-fi misfire along, but given how he’s survived white supremacists , rebel forces , noble-failure literary adaptations and the sixth season of Girls, he can recover from this. The bad news is that even those of us who love the actor’s work may find ourselves wondering why he said yes to this in the first place. Put it you this way: This is a movie in which Adam Driver , Movie Star, fights a bunch of dinosaurs. And long before the film’s abrupt excuse for an ending drops, you will find yourself rooting for the dinosaurs.

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'65' Review: Adam Driver Can Save You From Dinosaurs, But Not This Disaster of a Movie

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There is something remarkable about how completely 65 wastes all it had going for it. Taking Adam Driver , one of the best actors working today, and throwing him onto a prehistoric Earth where he has to fight dinosaurs seems like it could be a solid little action flick. Whoever it was that edited the film’s trailer together should be given a raise, as it made it seem like the final product might actually be a thrilling science fiction ride that could possibly even bring some notes of horror. Instead, what we got is a poorly constructed work doomed by its derivative and dull narrative core.

Though it is aggressively simple, 65 manages to become as lost as its characters as they wander through fields, woods, and caves without any momentum behind them. There are occasional glimpses of the fun that could have been had and Driver is never phoning it in, even as he has basically nothing to work with. The trouble is that it can’t overcome what proves to be an unimaginative experience that is further hampered by poor direction, writing, effects, and everything a film needs to hold together.

This all begins with on-screen text informing us of the necessary information to understand that our humanoid protagonist Mills (Driver) is actually part of an entirely different species than our own. Living on a planet that is far from Earth, he is about to take on a job that will whisk him away from his family for two years. As he prepares to say goodbye to his wife and daughter, who is in poor health of some kind, we learn he is doing this so that they can afford proper treatment. The fact that this species with the capacity to travel through space is still one where healthcare is not accessible to all is a grim prospect, but there is no interest in exploring this as it is all about getting the story in motion. Even then, it feels like it is stalling.

RELATED: The 10 Best Adam Driver Performances, Ranked

While 65 was never going to be a particularly heady work of science fiction, both the narrative underpinnings and their execution are so empty that everything increasingly rings hollow even as it incessantly hammers home the same superficial elements. The inciting incident is that the ship that Mills is piloting flies straight into an asteroid field. This happens while he is asleep, and they subsequently crash down to Earth, their ship breaking into two parts. The only other surviving passenger of the many in cryosleep is the young Koa ( Ariana Greenblatt ), who Mills must then protect as they travel to the other part of the ship they hope to use to escape.

A narrative built around traveling from point A to point B could work to keep the emphasis on the action. After all, the selling point of the experience is getting to see Driver take on various dinos. Much like the recent Jurassic World sequel, that is not something that 65 sufficiently capitalizes on. Further, the déjà vu that is felt when it too becomes oddly fixated on bugs does it absolutely no favors. What should have been a stripped-down story is made into an overwrought and ambling film where the staging of the action ensures that it only rarely carries any actual weight.

From the first moment Mills encounters one of his few dinosaur foes as he goes out to get his bearings, the effects are painfully unconvincing no matter how much Driver dutifully rolls around. This becomes a persistent problem that the film will occasionally get around by using darkness as a cover, but that can only go so far. They are often bigger than the dinosaurs in something like Jurassic Park , but the way it integrates them into the story just falls flat. Those effects have aged better because they aren’t just built around throwing a lot at the screen, but about being more precise in how they are used. The longer that 65 drags on, the more it reveals it lacks anything approaching a creative vision.

Take when Mills and Koa are attacked under a tree, the first truly dangerous encounter the two have. Rather than feel tense, they just seem disconnected from the supposedly approaching creatures. We know from the cutting back and forth that they are getting closer, though we are never given a shot to establish the distance that is being closed. It leans on the committed performance of Driver to convey the character’s panic, but we never feel it in the way the scene is constructed. Not once do you ever think that either of them are in any real danger, no matter how much the film tries to insist that they are. Whenever they are just on the verge of being in actual trouble, they get saved at the last possible second. It robs the film of any sense of stakes, making it hard to actually care about any of the subsequent escalations it throws out. Making matters worse is that the back-and-forth the characters have is all painfully one-note. Much of this stems from how Koa speaks a language that Mills does not understand, essentially reducing her to being a surrogate daughter with no depth that she gets on her own. Greenblatt gives it her all, but she is fighting an uphill battle from start to finish.

All of this could be forgiven if the film were actually fun in how it played around with its premise. It was never going to be a masterpiece by any means, but it is bizarre just how boring it all feels. The main event of it all, Driver fighting a T-rex, is something the film teases for all its worth before it unfolds in the conclusion. This proves to be disappointing as, after all this wait, the sequence just doesn’t feel worth it and passes rather quickly. Once more, the persistent problem is how disconnected the two adversaries are and how poorly staged the entire thing remains. When you then look back on the entire experience, it is fascinating how fleeting it is and how little of an impact it all leaves. Though there are movies that are worse than 65 , it is part of a select few that manage to utterly and completely squander their own potential.

65 is in theaters now.

65 is an action/adventure sci-fi movie from writer/directors Scott Beck and Bryan Woods. When pilot Mills (Adam Driver) crashes on a mysterious planet, his early investigations immediately reveal to him its not where he is, it's when. Realizing he's stuck on earth 65,000,000 years in the past, he happens upon a young girl survivor named Koa (Ariana Greenblatt) and takes her with him. To survive, the two face off against prehistoric dangers, such as ancient terrain and dinosaurs, as they use Mills' limited tools and whatever they can find to make it back to the future.

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Science Fiction

65 - Everything You Need To Know

There's one thing everyone agrees on — dinosaurs are awesome . Who doesn't love a big, scaly, prehistoric beast? But for all the love these terrible lizards get, there aren't a whole lot of dinosaur movies. Sure, they've popped up here and there, showing up in Hollywood classics like "King Kong" and bizarre curios like "Tammy and the T-Rex." However, in recent years, the dinosaur market has been almost exclusively cornered by the "Jurassic Park" series, but a challenger to the dino throne emerged on March 10, 2023.

That's when "65" hit theaters, offering audiences a new take on these oversized reptiles. In a world of ever-growing IP, remakes, and reboots, this sci-fi flick offered a fresh take on an old concept, with some serious talent working both in front of the camera and behind the scenes. But if you've got questions about this Cretaceous caper, we've got answers. From what critics think about the flick to who wrote and directed this clash of man and monsters, read on for everything you need to know about "65."

What is the plot of 65?

Adam Driver and Ariana Greenblatt scared

With his daughter dying of an illness, Commander Mills decides to leave his home planet and take a two-year journey into space in the hopes of earning enough money to save his kid's life. Unfortunately, the ship he's piloting — which is full of cryo-sleeping passengers — accidentally hits an asteroid and crash-lands on a strange planet. In the wreckage, he manages to find one survivor, a young girl named Koa, and together, they're forced to survive in this alien world.

Of course, while it might be alien to Mills, it's not alien to us. As it turns out, this is Earth ... 65 million years ago. And yes, that means things get incredibly complicated for our heroes when hungry dinosaurs arrive on the scene. It also doesn't help that they've landed on Earth at a very, um, impactful point in history. With the clock ticking and the dinosaurs closing in, Mills and Koa have just one chance to escape, and they'll have to make a dangerous journey if they want to get off this rock alive.

Who stars in 65?

Co-starring alongside a bunch of toothy reptiles, we've got Adam Driver — a man who's no stranger to sci-fi. After playing in the acclaimed HBO series "Girls," Driver found worldwide stardom in the "Star Wars" sequel trilogy, portraying the tortured Kylo Ren, a man torn between the light and the dark side of the Force. In addition to wielding a lightsaber onscreen, Driver has also starred in projects like "Marriage Story," "The Last Duel," and "House of Gucci." In "65," he's playing the part of Commander Mills, who must protect a young girl in a world full of flesh-hungry reptiles.

So who portrays his young ward? Well, the part of Koa is played by Ariana Greenblatt, who's no stranger to surviving perilous situations. The young actress stole the show in "Love & Monsters" as Minnow, a young girl who can more than handle herself in a world full of massive mutant creatures. You'll also recognize Greenblatt as young Gamora from "Avengers: Infinity War," Daphne Diaz from "Stuck in the Middle," and the voice of Tabitha from the "Boss Baby" franchise.

Driver and Greenblatt are also joined by Chloe Coleman, who starred alongside Dave Bautista in the family flick "My Spy," Karen Gillan in the action thriller "Gunpowder Milkshake," and both Owen Wilson and Jennifer Lopez in "Marry Me." Rounding out the cast, "65" also features Nika King, who's most famous for playing Zendaya's mother, Leslie Bennett, in HBO's "Euphoria."

Who wrote and directed 65?

If you don't already know the names Scott Beck and Bryan Woods, you should probably memorize them real quick. It seems these two are becoming real-deal power players in Hollywood, especially when it comes to sci-fi and horror films. This dynamic duo is responsible for writing and directing "65," but before that, they were busy collaborating on films like 2019's "Haunt" (a slasher flick set in a haunted house) and 2015's "Nightlight" (a supernatural set-in-the-woods thriller). However, they really punched their ticket to success by writing one of the most dynamic genre scripts in recent memory: "A Quiet Place." They're also responsible for the adaptation of Stephen King's "The Boogeyman," so one thing is for sure about these two — they know how to bring some serious thrills.

Who produced 65?

Before turning their attention to Adam Driver's dino adventure, Scott Beck and Bryan Woods were hired to work on Quibi's (remember Quibi?) horror anthology series "50 States of Fright." However, they weren't alone on the project, and one of their fellow "50 States" collaborators joined "65" and gave the film some serious cred.

Alongside Deborah Liebling and Zainab Azizi, the legendary Sam Raimi served as a producer on "65." If you're at all familiar with horror movies or superhero flicks, then Raimi needs no introduction. He burst onto the scene with the "Evil Dead" franchise and helped lay out the blueprint for future Marvel flicks by helming the three Tobey Maguire "Spider-Man" movies. In addition to directing films like "Drag Me to Hell," "The Quick and the Dead," and "Doctor Strange in the Multiverse of Madness," Raimi has produced quite a few winners, including "Crawl," "Nightbooks," "Don't Breathe," and "30 Days of Night."

How did critics and audiences respond to 65?

The premise of "65" sounds awesome — humans crash-land on Earth and have to fight dinosaurs. Unfortunately, it doesn't seem like critics were impressed by what "65" had to offer, with most of them wishing the film would just go extinct. The film currently has a terrible 37% critics' rating on Rotten Tomatoes, based on 78 reviews.

Our own Reuben Baron wasn't thrilled with the movie , writing, "'65' is dreadfully uncreative beyond the basic premise, utilizing cliched character types we've seen handled way more compellingly nearly everywhere else." David Fear of Rolling Stone agreed that "65" was majorly lacking, saying, "It's not schlocky enough to be so-bad-it's-good and nowhere near good enough to be taken even a tiny bit seriously."

Audiences, on the other hand, are a little more fond of the dinosaurian adventure. At the time of this writing, the film has a 63% approval rating based on 500+ reviews. Perhaps their feelings are best summed up by critic Maria Lattila of WhyNow, who wrote, "Is '65' good? Debatable. Is '65' enjoyable? Absolutely. The middle-budget film has disappeared, but '65' is an ambitious, entertaining example of why it should be returned."

How did 65 perform at the box office?

While average moviegoers on Rotten Tomatoes seem to like "65," its audience approval score of 63% doesn't line up with the box office numbers. On its opening weekend, the dinosaur sci-fi film earned just $12.3 million at the domestic box office. If we add in the international profits, that brings us to a total of $20 million — not great when your reported production budget is $44.5 million.

So why the massive flop? It could be partly thanks to the negative critical reviews. The film was also fighting some serious competition. It opened against "Scream 6," which took the #1 spot at the box office. Plus, there was leftover competition from the weekend before with "Creed III," which punched its way to the #2 spot, leaving "65" in third. In other words, it was a dino-sorry opening weekend.

What is 65 rated?

As is par for the course with most sci-fi blockbusters, "65" is rated PG-13. If you're worried about little ones, there's no sex or nudity, and the language here is about what you'd expect from a more serious Marvel movie. "65" earns its PG-13 largely thanks to the dinosaurs, which are pretty scary and very hungry. There's quite a bit of blood (but not excessive), plenty of attacks by those terrible lizards, and more than a few wounds earned in battle. Our hero has to get pretty violent to fight off these creatures, but honestly, nothing ever strays into R-rated territory.

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PARAMOUNT SCARES - Volume 2 [4K UHD + Digital Copy]

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PARAMOUNT SCARES - Volume 2 [4K UHD + Digital Copy]

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Genre	Horror, Drama, Thriller, Crime, Action & Adventure
Format	Subtitled, Digital_copy, 4K
Contributor	Stuart Charno, Kirsten Baker, Anthony Edwards, Robert Downey Jr, Brian Cox
Language	English
Number Of Discs	8

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Paramount Scares resurrects four spine-chilling terrors in 4K Ultra-HD, for this limited-edition second collection of scream greats, including Jason’s bloody return in FRIDAY THE 13TH PART 2 (1981), the backroad terror of BREAKDOWN (1997), the action-packed zombie pandemic WORLD WAR Z (2013), and Esther’s twisted original evil deeds in ORPHAN: FIRST KILL (2022). This highly collectible box contains each movie in separate amaray cases, with exclusive slipcovers. Also available only in this set—four unique iron-on patches, a glow-in-the-dark enamel pin, a domed logo sticker, and a poster designed by Orlando Arocena. Take a deeper dive into all four films with a curated FANGORIA issue, with articles from their vault and new content. Digital copies of all four movies are also included, to keep the creepy close at hand!

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MPAA rating ‏ : ‎ R (Restricted)
Package Dimensions ‏ : ‎ 7.5 x 5.25 x 0.5 inches; 14.08 ounces
Media Format ‏ : ‎ Subtitled, Digital_copy, 4K
Run time ‏ : ‎ 9 hours and 37 minutes
Release date ‏ : ‎ October 1, 2024
Actors ‏ : ‎ Kirsten Baker, Stuart Charno, Brian Cox, Robert Downey Jr, Anthony Edwards
Dubbed: ‏ : ‎ French
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Studio ‏ : ‎ PARAMOUNT
ASIN ‏ : ‎ B0DB7HH65N
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IMAGES

65 movie review & film summary (2023)
65 movie review & film summary (2023)
65 (English) Movie: Review
65 (2023)
’65’ Review: Adam Driver Can’t Save You From This Disaster
65: Exclusive Movie Clip

COMMENTS

65 movie review & film summary (2023)
You'd think a movie in which Adam Driver fights a bunch of dinosaurs couldn't possibly be boring, but that's exactly what "65" is.. This is a movie that would have benefitted from being a whole lot stupider. The big-budget sci-fi flick—which reportedly cost $91 million to make and was featured in a Super Bowl ad—should have embraced its inherent B-movie roots.
65
Alex Parra Fun and thrilling, Adam Driver helps elevate the weak script. Soild Action B movie! Rated 3.5/5 Stars • Rated 3.5 out of 5 stars 07/26/23 Full Review Ricky Dumb as a rock but somewhat ...
'65' Review: What on Earth?
Watch on. I don't mean the movie; that would be unkind. "65," directed by Scott Beck and Bryan Woods (two writers of the first "Quiet Place" film), is not interesting enough to be truly ...
65
65 Reviews. Writers and directors Scott Beck and Bryan Woods put a lot on the film's shoulders. They got butts in the theater with the sci fi action premise, but the heart of the film is a thin ...
65 (2023)
65 (2023) is a movie that my wife and I saw in theaters this evening. The storyline follows a pilot on a research voyage whose ship runs into an unforeseen asteroid belt and crashes on Earth 65 million years ago. Most of the crew doesn't survive the crash except one little girl who doesn't speak English.
'65' Review: Adam Driver Battles Dinosaurs in Derivative Thriller
Read More About: 65, Adam Driver, Scott Beck Bryan Woods. '65' Review: Adam Driver Battles Dinosaurs and Other Stone-Age Story Ideas in Derivative Thriller. Reviewed at Thalberg Screening Room ...
65 (2023)
65: Directed by Scott Beck, Bryan Woods. With Adam Driver, Ariana Greenblatt, Chloe Coleman, Nika King. An astronaut crash lands on a mysterious planet only to discover he's not alone.
65 Review
65 Review Adam Driver shoots a bunch of dinosaurs like any good father would. ... 65 Movie Photos. 8 Images. Verdict. 65 is a capable action-thriller with a softer side when it comes to its family ...
65
Mixed or Average Based on 27 Critic Reviews. 40. 11% Positive 3 Reviews. 59% Mixed 16 Reviews. 30% Negative 8 Reviews. All Reviews ... for sure, but some terrific GGI monsters, swampy scares and Driver's committed performance make 65 a snap-toothed popcorn multiplex movie which, at 93 minutes, is sprightly in comparison with its lumbering ...
65 Review
65 Review. After an asteroid collision, astronaut Mills (Adam Driver) crash lands on Earth — 65 million years ago. Together with the only other survivor, a young girl named Koa (Greenblatt ...
'65' Review: Adam Driver vs. Dinosaurs in Underwhelming Sci-Fi
65. The Bottom Line A middling throwback creature feature. Release date: Friday, March 10. Cast: Adam Driver, Ariana Greenblatt, Chloe Coleman, Nika King. Directors-screenwriters: Scott Beck ...
65 review: a simple, bare-bones sci-fi thriller
A lean 93-minute runtime. Several intense, clever action sequences. Cons. A messy, unpolished visual style. An overly familiar story. The new movie 65 is a refreshingly unambitious sci-fi ...
65 Movie Review
Parents need to know that 65 is a sci-fi/dinosaur movie about a space traveler named Mills (Adam Driver) who crash-lands on primitive Earth and must battle dinosaurs to save his one surviving passenger, Koa (Ariana Greenblatt).Expect intense violence: Characters die (their bodies are shown), there's splattering dinosaur blood/gore, and Mills pulls a shard of metal out of his own bloody wound.
65 Review: How Is Adam Driver Vs. Dinosaurs This Dull?
65. (Image credit: Sony Pictures) Release Date: March 10, 2023 Directed By: Scott Beck and Bryan Woods Written By: Scott Beck and Bryan Woods Starring: Adam Driver, Ariana Greenblatt, Nika King ...
65 (film)
65 is a 2023 American science fiction film written and directed by Scott Beck and Bryan Woods, ... 2023. It grossed $60 million worldwide on a budget of $45 million, and received mixed reviews from critics. Plot. Sixty-five million years ago, on the planet Somaris, pilot Mills is convinced by his wife that he should take on a two-year space ...
65
65 's perspective is interesting as it presents a visitation by human aliens to the last hours of the Cretaceous Period. One of the film's small pleasures is the way it presents a porthole into the world of the dinosaurs on the final day of their existence. The movie ends with The Big One colliding with the planet but we're given plenty ...
Adam Driver '65' Netflix Streaming Movie Review: Stream It or Skip It?
65. Adam Driver headlines 65 (now on Netflix, in addition to streaming on VOD services like Amazon Prime Video ), a keep-it-simple-stupid B-movie in which he plays a marooned space traveler who ...
'65' review: Not hall-of-fame bad, just dumb and dull
Review: There are '65' million reasons to avoid the new Adam Driver dinosaur space flick. Adam Driver in the movie "65.". If you asked the AI program ChatGPT to write a dinosaur/space ...
'65' Is 'The Last of Us' With Adam Driver, Dinosaurs, and Zero Thrills
movie review '65' Is 'The Last of Us' With Adam Driver, Dinosaurs, and Zero Thrills Not even this movie star's broad shoulders can carry this curiously inept excuse for a high-concept ...
Adam Driver gets a weak taste of dino might in the sci-fi thriller '65
CNN —. Adam Driver has his fans, but he seems determined to test their loyalty with some of his recent film choices, the sci-fi thriller "65" being the latest among them. Although the title ...
'65' Review: Adam Driver Can't Save You From This Disaster
65. 2 10. 65 is an action/adventure sci-fi movie from writer/directors Scott Beck and Bryan Woods. When pilot Mills (Adam Driver) crashes on a mysterious planet, his early investigations ...
65 (2023) Movie Reviews
Buy movie tickets in advance, find movie times, watch trailers, read movie reviews, and more at Fandango. ... 65 (2023) Fan Reviews and Ratings Powered by Rotten Tomatoes Rate Movie. Close Audience Score. The percentage of users who made a verified movie ticket purchase and rated this 3.5 stars or higher. ...
65
As is par for the course with most sci-fi blockbusters, "65" is rated PG-13. If you're worried about little ones, there's no sex or nudity, and the language here is about what you'd expect from a ...
IMDb Top 250 Movies
The Top Rated Movie list only includes feature films. Shorts, TV movies, and documentaries are not included; The list is ranked by a formula which includes the number of ratings each movie received from users, and value of ratings received from regular users; To be included on the list, a movie must receive ratings from at least 25000 users
PARAMOUNT SCARES
How customer reviews and ratings work Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them. To calculate the overall star rating and percentage breakdown by star, we don't use a simple average.