movie review of 65

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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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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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Adam Driver shoots a bunch of dinosaurs like any good father would.

Remember 2011’s Cowboys & Aliens ? 65 is a movie that dares to take that same simple idea of a kid smashing two of his favorite toys together and give us Space Dad & Dinosaurs, a breezy sci-fi survival mission that delivers what's on the tin and little more. Writers and directors Scott Beck and Bryan Woods – who wrote the much fiercer invasion stunner A Quiet Place and pulled double duty on the gruesome yet underwhelming Halloween horror movie Haunt – emphasize ferocious special effects, a fast tempo, and adventurous tension. It’s a straightforward story of a man protecting a child that will someday fit well into syndicated Father's Day marathons on channels like TBS or TNT. Don't expect the next Jurassic Park or even Jurassic World . 65 pleases the most basic expectations, and that's good enough for the entertaining concept to survive for 90 minutes.

Beck and Woods favorably draw from ‘80s and ‘90s action movies centered around a hero whose family-driven motivations are more compelling than another cardboard action-hero cutout trying to beat a body count record. Adam Driver's space pilot Mills survives a white-knuckle crash landing filled with asteroid damage that drops him on Earth 65 million years ago, and it’s not long before dinosaurs start trying to take bites out of the stranded visitor. Adding Ariana Greenblatt's young survivor, Koa — who speaks a different language — creates a fatherhood instinct that drives Mills. Thanks to her, Driver gets to do more than shoot energy bullets at animated dinosaurs, which suits his flair for expressive facial reactions and outbursts. Koa needs Mills' tactical skills, Mills needs Koa's daughter representation, and 65 needs their parent-child dynamic to elevate even a single notch above point-and-shoot generics.

That father-daughter relationship acts like tossing some Hallmark warmth into a prehistoric episode of Survivor (...with futuristic tools [scratches head]). Driver's commitment as an overprotective caretaker shines, while Greenblatt's playful scamp can be a delight. The communication barrier between the two might not add much to the story, nor does their emotional journey go anywhere special, but Driver and Greenblatt mold a sweet relationship together that make it easy to root for Mills and Koa as they overcome separate familial subplots. It’s something like After Earth, but far better.

Visual effects supervisor Chris Harvey led efforts to present lifelike digital dinosaurs and gets plenty of credit for 65's success in that arena. Nothing here will beat the Tyrannosaurus rex or raptor animatronics from the original Jurassic Park (perhaps nothing ever will), but 65 delivers creatures big and small that appear pretty darn polished and worthy of a reported $90 million budget. Harvey's dinos favor menacing reptilian attributes like massive predators running on all fours, like a blend between a T-Rex and Komodo dragon — they're somehow more unsettling by resembling animals we see everyday. Driver and Greenblatt's chemistry when threatened by them sells everything from cautious wonder to fear-stricken danger, especially with some choice cinematography, like when a rainstorm lightning bolt reveals a massive T-rex-type outline behind our worried leads.

What's the best dinosaur movie WITHOUT "Jurassic" in the title?

65 isn’t a non-stop creature feature, though. Beck and Woods balance less-frequent dinosaur attacks with natural obstacles like cave-ins and quicksand, showing an environment where death is one wrong step away. Driver brings intensity, whether challenging razor-clawed predators or exhaustively chipping away at rocks to clear claustrophobic escape tunnels from dank caverns. 65 embraces the wildness of wilderness excursions, and while suspense might subside when dinos vanish for longer stretches of time, there's never too long to wait before Mills and Koa have to defend against another snarling adversary.

What 65 lacks is any ambition toward grander world-building. Beck and Woods' screenplay gives us a glimpse of an advanced cosmic race of humans that arose long before our own, complete with solve-all gadgets that can be too convenient for their own good and interstellar travel. Mills and Koa’s backstories are completely unexplored because 65 is dedicated to being a movie about fleeing from gaping dinosaur jaws and a quest to locate a lost escape pod – but the microscopic focus feels slight and unfulfilling given the setup. Mills' never-quite-emptied blaster (the fact that it recharges itself undermines a fair amount of survival tension) and their holographic GPS tracker are neat devices, but they beg for expanded lore about the people who built them.

65 Movie Photos

65 is a capable action-thriller with a softer side when it comes to its family-centered survival motivations. That doesn't negate the excitement when Adam Driver must square off with fearsome, great-looking dinosaurs. Writers and directors Scott Beck and Bryan Woods don't overcomplicate 65 beyond acting on primal instincts, and while that leads to sci-fi storytelling that leaves so much unanswered intrigue on the table, they deliver respectable humans vs. beasts entertainment. 65 has a few oddly cruel moments that hit out of nowhere, which can throw off balance in a way that feels like a family-friendly The Land Before Time movie colliding with the feeding scene in Jurassic World, but it's also a competent 90-minute gauntlet where survivors race against time and extinct foes.

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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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Identifying the distant remains of the rest of their ship using a handful of relics from his technologically advanced culture, Mills and Koa make a difficult trek across terrain filled with quicksand, steam-filled geysers, life-threatening flora and a variety of dinosaur species. But even as they overcome each new hazard, a much bigger one appears: the asteroid that felled their ship is on a collision course with Earth. They soon find themselves in a race against the clock to get to the ship’s escape pod before either dying in a planet-leveling fireball or being eaten by a carnivorous reptile.

But those quiet moments also give the audience to wonder: so a humanlike species from another planet, armed with the technology for interstellar travel (not to mention laser guns and 3D GPS) came to Earth 65 million years ago, long before humankind existed — and the point is “just” that they’re trying to get back home? Seems like a long way to travel to go nowhere particularly meaningful.

That said, Beck and Woods make dinosaurs frightening for the first time in decades, thanks to some classic misdirection and staging that involves a lot of shadows to make the audience say “nope” when the characters decide to plumb further into them. If their filmmaking isn’t particularly inventive, the duo approach it with the same kind of sturdy proficiency they use when borrowing scenes or genre boilerplate to tell their stories. “A Quiet Place” worked because it gently tweaked a lot of familiar formulas and then director John Krasinski executed the whole thing with a workmanlike attention to detail; “65” doesn’t have the same core emotionality holding it together (this family is fractured, not fighting to stay together), but behind the cameras Beck and Woods merely service their ideas rather than strengthening them from the page.

At just 93 minutes, ”65” feels pleasantly diverting in competition with a glut of sequels that include “Ant-Man and the Wasp: Quantumania,” “Creed III,” “Scream VI” and “John Wick Chapter 4” — not that anything in it is all that original. Then again, perhaps the reason it still falls short is because the idea of a standalone story seems too good to be true in an era of cinematic universes, especially given the fact that buried in its premise, before the title card even, is the idea there’s more than just our own to explore.

In which case, the best thing for “65” would be that no more installments follow, but if it proves a hit, audiences couldn’t possibly be that lucky. Who were Mills’ other passengers? Why was he transporting them? In what way do his “people” relate, genetically, or otherwise, to ordinary humans? These are all questions that you can see Sony salivating at the prospect of answering in a sequel or spinoff, but they all feel more intriguing without some sort of canonical answer. In which case, “65” is a film whose past feels like it was 65 million movies in the making, and its future depends on a several hundred millions in box office revenue. They best way to enjoy it is to let go of all that and be present.

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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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, trite indie drama about grief and finding a reason to continue to live.

Full Review | Jun 2, 2024

It was the worst of times, it was the end of times. For the characters anyway. Not as bad I had heard, 65 is improved by the performances and also the constant pummelling that pre-historic Earth doles out to poor old Mills.

Full Review | Original Score: 3/5 | Jan 21, 2024

...a pared-down premise that’s employed to mostly compelling (and periodically spellbinding) effect...

Full Review | Original Score: 3/4 | Dec 30, 2023

Watches so much like an adaptation of a classic pulp dime novel...

Full Review | Dec 25, 2023

65 may not be as refined or ravishing as the other survival thrillers or sci-fi adventures, but if you’re tired of mush and masculinity, this may be a slightly different experience.

Full Review | Nov 27, 2023

Silly but too serious, kinda exciting and pretty familiar.

Full Review | Original Score: C | Aug 28, 2023

Wasted potential with an excellent lead, dinosaur mayhem & nice sci-fi gadgets.

Full Review | Aug 16, 2023

The limited cast of two major players and a script that allows for little flexibility leaves the production as just being bland.

Full Review | Original Score: C | Aug 9, 2023

65 is as unimaginative and predictable as anticipated, only even less entertaining and far more bland. Adam Driver and Ariana Greenblatt try their best. A dinosaur flick this uninteresting should be considered a cinephilic crime.

Full Review | Original Score: D+ | Jul 21, 2023

A no-frills, no-thrills dud.

Full Review | Original Score: 1.5/4 | Jun 6, 2023

65 should only be recommended after one has run out of films to watch, which might not be for many years.

Full Review | Original Score: 1/5 | Jun 5, 2023

A passable sci-fi survival adventure pushes a thin premise to a mercifully short end.

Full Review | Original Score: 2.5/4 | Jun 2, 2023

Driver is always very good no matter what role he takes on, whether it is a spaceship pilot battling dinosaurs or Darth Vader's grandson battling the force and the inner conflict that wages war inside him.

Full Review | Original Score: 3/5 | Jun 1, 2023

The whole desperate dad thing gets wearisome as if the movie were conscientiously telling lonely 9-year-olds how much their absent work-junkie fathers actually love them. Which it is. Driver’s big salary-earning business trip isn’t happening “to you."

Full Review | May 29, 2023

It’s maybe too slim and uninspired for its own good, but it’s quick enough to where you aren’t all that bothered by the time spent with it.

Full Review | May 27, 2023

Driver makes it all stick. It’s his first lead role in the action hero genre, and he adds depth and nuance to a thinly written role. We don’t know much about Mills, but the actor keeps us plugged in due to his ability to elevate material.

Full Review | Original Score: B | Apr 27, 2023

Confusingly bland and riddled with plot holes, 65 doesn’t give its talented lead much to work with.

Full Review | Apr 21, 2023

Dreary, under-developed wannabe sci-fi action adventure that strives for suspense but plays like the kind of grade B-creature feature that used to be drive-in theater fare.

Full Review | Original Score: 4/10 | Apr 19, 2023

With excellent, double-strength VFX and whole-hearted embrace of B-movie aesthetics, 65 is terrific entertainment with outstanding action cinematography giving the film a visual polish that sits several grades above what we typically see in Marvel films.

Full Review | Original Score: 3.5/5 | Apr 16, 2023

Nothing really sinks its teeth in deep enough to draw blood, metaphorically speaking, of course.

Full Review | Apr 12, 2023

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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Common sense media reviewers.

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

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

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…

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 .

Where to Watch

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Community Reviews

• 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: 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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Cannes: francis ford coppola's much-discussed 'megalopolis' receives 10-minute standing ovation, 'megalopolis' review: francis ford coppola's passion project starring adam driver is a staggeringly ambitious big swing, if nothing else.

In any case, said mission goes awry because of a nasty asteroid storm that causes the ship to crash on Earth, the only other survivor being Koa (Ariana Greenblatt), a little girl who doesn’t understand English and is understandably shaken up by the experience. Especially since not long after the crash, the pair find themselves in a strange world populated by an array of dinosaurs who all seem to be very hungry and very, very cranky.

The filmmakers, who previously collaborated with John Krasinski on the screenplay for the first A Quiet Place film, clearly love dinosaurs and nasty alien creatures in general. The same could be said of Sam Raimi , one of the producers. That childlike enthusiasm permeates every frame of 65 , which plays like something you might have seen at a drive-in decades ago on a double-bill with The Valley of Gwangi or When Dinosaurs Ruled the Earth .

But the gimmick wears thin quickly. Most of the running time consists of scenes in which the two characters run into one or more screaming dinos before they manage to shoot or blast them into oblivion. Rinse and repeat. When Driver’s character almost perishes by falling into quicksand, it practically feels like a palate cleanser. The special effects are fine, but aren’t likely to cause Steven Spielberg to lose any sleep.

Nor is the dialogue particularly scintillating, since it mainly consists of Mills speaking a few words and Koa repeating them quizzically. (She does, however, immediately grasp his meaning when he shouts, “Run!”). Nonetheless, the relationship between the two does generate some warmth, with Koa serving as a substitute daughter who rouses Mills’ protective paternal instincts. Before the story concludes, the feisty little girl holds her own, saving his bacon more than once. Unfortunately, the pair’s dynamic also calls to mind the current HBO series The Last of Us , and doesn’t benefit from the comparison.

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

“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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65 is a Lean, Mean Dino Thriller as Straightforward as Its Title

Or: The tale of two characters trying to coolly walk away from our planet’s biggest explosion.

Alfred Hitchcock emphasized film as a visual medium above all else — a teaching that has developed a nearly cult-like reverence. 65 , the newest film from writer-director duo Scott Beck and Bryan Woods , is a genre apart from the Master of Suspense but clearly worships from that same church. The Adam Driver-starring thriller is a lean, mean exercise in sci-fi suspense set far in our planetary past (if only by sheer misadventure).

Mills (Adam Driver) is a pilot shepherding a large group of spacebound passengers when the trip goes awry, ripping the ship apart and scattering it across an unknown planet. As it turns out, two passengers survive — Mills and a young woman named Koa (Ariana Greenblatt). We soon discover that the pair landed on Mesozoic-era Earth (unbeknownst to them) with only one possibility of escape. Beside the sci-fi technology and the existence of violent dinosaurs, at its core, 65 is a simple survival tale about a makeshift family : a pilot and young girl set against a monstrous world, with the ticking clock of a comet propelling their trek forward.

In some ways, 65 resembles a variety of media that have come before. The Jurassic Park/World comparisons are inevitable, with slices of the narrative feeling kin to such sci-fi classics. But just because the idea is familiar doesn’t mean it’s a poorly conceived or executed one. Part of the familiarity of 65 lies in the fact that the concept is so good that it honestly should have been made a half-dozen times before. The setting allows our protagonists to be set in a world emotionally familiar, yet unrecognizable and thoroughly hostile.

Though Driver is well known for his skill at outburst-laden roles (think of all those viral gifs of Kylo Ren smashing consoles or Charlie Barber hitting a wall), 65 ably showcases his skill at emotional subtlety. Mills and Koa are on board the same ship, but they don’t speak the same language and the pair repeatedly struggle to build effective communication and emotional trust in a hostile world. It adds well to the isolation of both, and gives Driver a chance to showcase his skills at a non-verbal performance. Similarly, Greenblatt spends the role speaking a language not of this planet, effectively only having subtle tools to emote and transmit her character’s meanings. She gives a wonderful performance under those difficult conditions.

Adam Driver battles dinosaurs in a tight sci-fi thriller that could’ve used a little more meat.

Everything about 65 is tight. There’s little inessential in the narrative, no surplus dialogue (to whom would our protagonists speak?), and only plot-driven exposition. The shot choice is well designed to build tension, carefully using the frame to hide the danger until it’s too late. The often-tight frame keeps the focus on our protagonists more often than not, which does well to enhance the film’s building suspense. That said, there are times where wider shots would have helped situate the viewer, or slightly longer cuts in a given scene would have let the tension linger. At times, it’s too lean, but that’s a preferable vice in a world full of overlong films stretching over 2.5 hours.

The dinosaurs look good on screen and are used well, if somewhat sparsely. The narrative promises survival against dinos and largely delivers, though the emergent emotional father-daughter narrative and the ticking clock of the comet are unexpectedly a larger focus. Both elements work, but with the dinosaurs being a key element of the promised story, one can’t help but desire a little more high-stakes action from our planet’s former rulers.

65 is not without its curious plot contrivances, however. There are times when Koa has vast leaps in her understanding of a situation or language, and knows precisely what to do when it’s oddly convenient. The premise of the ship crashing on Earth exactly when The Comet is going to hit is a fun way to showcase one of Earth’s most monumental eras, but it’s also a tad convenient that the protagonists hit that specific time period out of Earth’s whole billion-year history. Overall, however, 65 ’s lean narrative is a virtue, generating a tight story that works well.

The film isn’t exactly the dinosaur extravaganza one might be expecting, though that’s present to a relevant degree. At its core, the film is a tight story focusing on the growing familial relationship between a pair of protagonists who have no one else, in a world full of monsters. The performances are strong, the script is lean and largely successful, the dinosaurs look good, and it sticks the landing. It could strangely enough use a slightly longer runtime, but 65 remains a tight sci-fi thriller, and one worth an audience’s time.

65 opens in theaters on March 10.

• Science Fiction

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• DVD & Streaming
• Action/Adventure , Drama , Sci-Fi/Fantasy , Thriller

Content Caution

In Theaters

• March 10, 2023
• Adam Driver as Mills; Ariana Greenblatt as Koa; Chloe Coleman as Nevine; Nika King as Alya

Home Release Date

• April 7, 2023
• Scott Beck; Bryan Woods

Distributor

• Sony Pictures Releasing

Movie Review

Business trips are just the worst. Just ask Mills.

The originally scheduled trip was bad enough: a two-year interplanetary journey, shuttling a bunch of cryogenically suspended passengers on an “exploratory mission.” Two years is a long time to be away, especially when you have a critically ill daughter back home. But how else is Mills going to afford his daughter’s treatment? Health care is apparently not any cheaper on Mills’ home planet of Somaris than it is here.

Yes, if everything went as planned, the job would’ve still been lacking. But you know how trips are: weather delays, unscheduled maintenance, your occasional killer asteroid storm. Mills’ ship was hit by the latter, sending it careening off course and crash-landing on some strange, green and insanely deadly world.

Half of the ship—the part that Mills is attached to—landed in a fetid swamp. The rest—including the ship’s only still-working escape pods—now sits on a big ol’ mountain, a good 10 miles away. And while 10 miles might not sound like a long way, it is when the crash pretty much sounded the dinner gong for the surrounding fauna.

Oh, and when you’re babysitting a 9-year-old girl.

That girl would be Koa, the only other survivor. And just to add to the degree of difficulty, she doesn’t speak English. (Though one wonders why Mills, coming from the planet Somaris and all, is so fluent in it.) Her parents are dead, though she doesn’t know it just yet. The planet seems to want her dead, too—which is soon made very clear.

Mills and Koa will have to cross jungles and rivers, avoid poisonous berries and insidious parasites, fight small dinosaurs, big dinosaurs and positively gargantuan dinosaurs.

And that asteroid shower? It’s heading their way, too. Y’know, just to make things interesting.

But at least Mills didn’t fly coach.

Positive Elements

When Mills realizes the predicament that he’s in, he’s ready to just give up. But when Mills learns that someone else has survived the crash, too, he does his very best to get he and the girl back home. He’s not always the most touchy-feely of protectors, but he is a ferocious one. Slowly, he begins to treat Koa a little like his own surrogate daughter.

Koa, meanwhile, proves to be perhaps even more brave than her brave protector. Understandably, she’s a little unnerved when she saves a dino cub from a perilous tar pit, only to see it devoured by predators a mere 90 seconds later. But once she understands that pretty much everything on the planet would like to eat her, Koa becomes surprisingly resourceful. She also rescues Mills a time or two—and given that she’s 9 years old, that’s pretty impressive. When my kids were 9, they didn’t even save me ice cream.

Spiritual Elements

Twenty minutes or so in, we learn that Mills and Koa have crash-landed on prehistoric Earth: The movie’s title, 65 , comes from the fact that this is Earth from 65 million years ago, and obviously evolution is implied.

Sexual Content

Violent content.

Herbivores are about as common as accredited universities in this prehistoric world of 65 , and the bevy of meat-hungry dinosaurs must’ve been thrilled at the prospect of eating something besides each other.

They do eat each other, by the way: Raptor-like dinos swarm over a sweet-but-limping bit of immature prey (though, given the teeth on the thing, that dino likely would’ve grown up on a nice diet of meat, too, so perhaps it was a preemptive strike). Lizard-like beasts catch and kill pterodactyl-like beasts.

And all have their big, beady eyes focused on Mills and Koa—attacking them at every opportunity. One of the most disturbing critters to attack actually does its work from the inside . (We see the thing when the victim’s mouth is opened. If it was sentient, it surely would be cackling with malicious glee.)

Mills responds to most of these threats with a nifty energy blaster, which gorily blows apart the smaller dinosaurs and perforates the bigger ones. He and Koa also use tiny marble-like explosive devices to dispatch a few monsters. Koa poisons a massive fang (or horn) she finds and stabs a Tyrannosaurus-like dinosaur right in the eye socket. (It’s pretty impressive, really, that she can even lift the thing.) Mills smashes a much smaller dino repeatedly with his weapon.

But those aren’t the only dangers to beset the pair or their would-be predators. Geysers prove to be dangerous (and telltale dinosaur bones beside one indicates that they’re sometimes lethal). Tar pits can mire the unsuspecting in its gooey folds. Quicksand—a peril that I’ve not seen on screen since Gilligan’s Island —nearly kills one of our human heroes.

And, of course, one must not forget the asteroid shower, which includes a huge one that pretty much (according to many scientists) ended the age of the dinosaurs forever. Add the dino fatality count after that big event, and we’re looking at a pretty huge number.

As mentioned, Mills’ ship crashes, which claimed the lives of 30-some passengers. While they hope they were sleeping when they slipped the surly bonds of earth, we do see their dead bodies lying about in a swamp. Mills is injured in the crash, too; he yanks a piece of metal from his midsection and painfully sprays it with a coolant. (It continues to cause him periodic discomfort throughout.) He also dislocates a shoulder, and sprains an ankle, and falls from a big tree, and is bitten by a very nasty dino and nearly perishes in a crumbling cave (as does Koa). It’s surprising he wasn’t beset by killer bees (though he does gorily crush a huge insect or two).

Koa, meanwhile, was burned in the crash (an injury that Mills treats), and she’s yanked around by a dinosaur by the hair, which can’t be fun. We also hear that someone has died (back on Somaris, Mills’ home planet).

Crude or Profane Language

Mills swears on occasion: three s-words and one use of the word “d–n.” Koa is blissfully unaware of these linguistic missteps, though we English/Somarian speakers in the audience are not.

Drug and Alcohol Content

None. Not surprising, given the lack of taverns in the region.

Other Negative Elements

Despite the language barrier between Mills and Koa, Mills still manages to lie to Koa—communicating to her that her parents are alive and well with the other half of the ship. Even at 9, you’d think Koa would be a little suspicious, given the state of the other half of the ship and, y’know, the dead bodies there and stuff. But perhaps children are more trusting on Somaris.

The critter that sneaks inside someone’s body causes that person to kinda vomit/froth at the mouth.

The movie 65 is not destined to go down as an all-time sci-fi classic. Despite the always-interesting presence of Adam Driver in, um, the driver’s seat, this turn-back-the-clock thriller ultimately boasts more plot holes than asteroid craters, and that’s saying something.

But while 65 has problems, it doesn’t lack heart. This quasi father-daughter story is sweet in its own way. And except for a rather surprising amount of dino-blood and guts, 65 plays it surprisingly clean.

Adam Driver’s latest sci-fi thriller is a B movie, plain and simple. But 65 does tell us that the love of a father and daughter—even if they’re not actually related—can defeat dinosaurs, asteroids and everything in between.

And that message is T-rex-eriffic.

Paul Asay has been part of the Plugged In staff since 2007, watching and reviewing roughly 15 quintillion movies and television shows. He’s written for a number of other publications, too, including Time, The Washington Post and Christianity Today. The author of several books, Paul loves to find spirituality in unexpected places, including popular entertainment, and he loves all things superhero. His vices include James Bond films, Mountain Dew and terrible B-grade movies. He’s married, has two children and a neurotic dog, runs marathons on occasion and hopes to someday own his own tuxedo. Feel free to follow him on Twitter @AsayPaul.

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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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‘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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Dr disrespect knowingly sent explicit messages to a minor, former twitch employee says, hawk tuah girl has already sold at least $65,000 worth of merch, kinky friedman, proudly eccentric texas singer-songwriter, dead at 79, editor’s picks, every awful thing trump has promised to do in a second term, the 250 greatest guitarists of all time, the 500 greatest albums of all time, the 50 worst decisions in movie history.

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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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 ’?”

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' 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.

• Movie Reviews
• Adam Driver
• Science Fiction

In ‘65,’ Adam Driver might just save the world; the movie, not so much

This loony, murky and muddled sci-fi action semi-thriller with a-list star driver and talented writers takes a detour through b-movie lane in a film that isn’t compelling enough to make for silly popcorn entertainment but isn’t terrible enough to be labeled a disaster..

Adam Driver is a galactic traveler who finds himself on a distant planet where he confronts dinosaurs and more in “65.”

Hollywood has long been fascinated with placing humans and prehistoric beasts in the same time frame, from the 1940 fantasy adventure “One Million B.C.” (and the 1966 remake “One Million Years B.C.”) to the 1960s prime-time network animated series “The Flintstones” to the advent of the “Jurassic Park” franchise in the 1990s, which cleverly flipped the script and brought the dinosaurs to us instead of the other way around.

Now comes the loony, murky and muddled sci-fi action semi-thriller “65,” with A-list star Adam Driver and the talented writers Scott Beck and Bryan Woods (who collaborated with John Krasinski on “A Quiet Place”) taking a detour through B-Movie Lane in a film that isn’t compelling enough to make for silly popcorn entertainment but isn’t terrible enough to be labeled a disaster.

The premise of “65” sounds like something out of one of those fake movie trailers Mel Brooks or Ben Stiller would put together: Esteemed film actor Adam Driver plays a galactic traveler who crash-lands on Earth some 65 million years in the past and shoots his ray-gun at dinosaurs and other predators from the Cretaceous Period, all the while protecting a little girl who is a metaphor for his dying daughter. There’s even a moment when Driver’s long-haired and bearded Mills, who has sustained a wound in his side, looks like a dead ringer for “King of Kings” era Jesus. Or maybe this Adam is Biblical Adam!

Nah, he’s just a pilot who lives with his wife Alya (Nika King) and their daughter Nevine (Chloe Coleman) on the planet of Somaris, which we’re told is one of the multitude of civilizations that existed long before the dawn of humankind on Earth. Poor Nevine has one of those movie diseases that are indicated by a persistent, light cough, leading Mills to accept a two-year assignment piloting an exploratory flight to a distant planet so he can earn enough to pay for Nevine’s treatment. (Apparently, there’s a not a great health plan for intergalactic pilots and their families on Somaris.)

Mills and his passengers are enjoying a nice long cryogenic nap when an asteroid field smashes into the ship and knocks it off course, forcing a crash-landing on the nearest planet, the aforementioned Earth. There are only two survivors: Mills, and a 9-year-old girl named Koa (Ariana Greenblatt), who is from another region of Somaris and speaks a different language.

As the reluctant anti-hero and the plucky child embark on their perilous journey to reach the escape pod from the other half of the shipwreck (“Last of Us” dynamic, anyone?), Mills doesn’t bother to try to learn the child’s language, but he teaches her words such as “family,” “ship” and most important, “RUN!”

We get a couple of decent jump-scares over the 92-minute running time, and Mills has some pretty cool toys he uses to fend off the just-OK CGI creatures of all sizes that keep trying to tear them apart. Driver plays it all in the same deadly serious tone he brings to fare such as “A Marriage Story,” which is kinda great, and Greenblatt is a gamer who throws herself into a cliché-riddled part.

One thing is for certain: If Mills and Koa ever DO make it back to Somaris, that man should march straight into headquarters — as soon as he’s recovered from his many, many injuries — and once again renegotiate his contract. Whatever raise they gave him, it wasn’t enough to put up with asteroids and dinosaurs and velociraptors, man.

Magical Miss Campaign 1 | Ep. 65 | Seeing Pink and Blue (FINALE)

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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 36% Tomatometer 129 Reviews 65% Audience Score 1,000+ Verified Ratings After a catastrophic crash on an unknown planet, pilot Mills (Adam Driver) quickly discovers he's actually stranded on ... '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 (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 (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' 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 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 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 Hawaii Film Critics Society. • 1 Nomination. After a catastrophic crash on an unknown planet, pilot Mills (Adam Driver) quickly discovers he's actually stranded on Earth…65 million years ago. Now, with only one chance at rescue, Mills and the only other survivor, Koa (Ariana Greenblatt), must make their way across an unknown terrain ... 65 Movie Review 65 Movie Review. 1:03 65 Official trailer. 65. Community Reviews. See all. Parents say (7) Kids say (10) age 10+ Based on 7 parent reviews . Mich V. Parent of 10-year-old. March 17, 2023 age 9+ Dinosaurs look awesome Good and clean movie for the family. Very little swearing. Maybe a bit suspenseful for very little kids but over all a good movie. '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 (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' Review: A Lean, Mean Dino Thriller as Straightforward as ... Review. 65 is a Lean, ... 65 opens in theaters on March 10. ... TV Movies Reviews Streaming Recs Marvel Star Wars See All. Gaming. News Reviews Guides Zelda Final Fantasy See All. Gear. 65 Movie Review. Business trips are just the worst. Just ask Mills. ... The movie 65 is not destined to go down as an all-time sci-fi classic. Despite the always-interesting presence of Adam Driver in, um, the driver's seat, this turn-back-the-clock thriller ultimately boasts more plot holes than asteroid craters, ... 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 ... '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 ... '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 ... Adam Driver gets a weak taste of dino might in the sci-fi thriller '65 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 refers to ... '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' review: Adam Driver might just save the world; the movie, not so In '65,' Adam Driver might just save the world; the movie, not so much This loony, murky and muddled sci-fi action semi-thriller with A-list star Driver and talented writers takes a detour ... Review '65': Zapping Dinosaurs Not Much Fun 65 might be the first film ever based on a movie poster. Its unoriginality and witlessness follow the blatancy of most contemporary content: An astronaut named Mills (Adam Driver) is introduced as ... Magical Miss Campaign 1 IMDb is the world's most popular and authoritative source for movie, TV and celebrity content. Find ratings and reviews for the newest movie and TV shows. Get personalized recommendations, and learn where to watch across hundreds of streaming providers. [Watch . 123Movies] Kalki 2898 AD (2024) FulLMovie Free Online The latest and final entry in the current continuity of DC Comics adaptations has struggled for air, only reaching $65 million in its first week of release. The first "Aquaman," released in 2018, surpassed that figure in its opening weekend alone. Top 10 Movies on Netflix Right Now Every Tuesday, we publish four global Top 10 lists for films and TV: Film (English), TV (English), Film (Non-English), and TV (Non-English). These lists rank titles based on 'views' for each title from Monday to Sunday of the previous week. [WATCH] Kalki 2898 AD (2024) Full Movie FrEE Online Streaming Bad reviews and superhero fatigue have plagued "Lost Kingdom," which more than likely won't even reach half the $335 million domestic total of its predecessor, much less justify a $205 million production budget. Taking a close third place, Illumination and Universal's"Manamey" is Manamey ntaining its footing ... assignment essay homework paper phd report resume review speech thesis