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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 v dinosaurs in almost fun enough thriller

A scrappy adventure, shot two years ago and getting unceremoniously dumped, isn’t as bad as its backstory would suggest but it’s missing something

I t’s almost impossible sitting down to watch the loopy sci-fi thriller 65 without being niggled by a familiar sinking feeling, like you’re about to eat a meal that you know won’t agree with your system. Despite the intriguing presence of Adam Driver , whose post-Star Wars roles have typically prioritised art over commerce, and a magnetically gonzo premise that sees a pilot crash-land on prehistoric Earth, it’s arriving weighed down by baggage heavy enough to flatten any hopes the thrillingly nutty trailer might have inspired.

Not only has the film, shot two years ago, already missed five prior release dates but it’s landing last minute without much of a visible campaign (it was only officially scheduled last month) and almost entirely without screenings for critics (I attended the only one in New York, taking place just hours before release). Inevitably, this then lowers even the most optimistic of optimist’s expectations to beneath ground level, a cursed backstory for something seemingly so awful that studio Sony would rather bury it than have anyone actually watch it. But as is often the case with such a lead-in, it’s more ho-hum than horrible, a mess but not a hugely embarrassing one.

Perhaps if it had been truly tell-everyone-on-Twitter terrible, then maybe it would at least be remembered by the time it swiftly lands on plane movie rotation but 65 veers between fine and slightly less than, never quite bringing the fun we were expecting,

Unusually, for an elevator pitch genre film such as this, it starts off in far shakier territory than where it ends up. Driver’s pilot, Mills, is saying goodbye to his wife and sick daughter (cue performed light cough) before he goes on a two-year mission. Shot during early Covid, we rush through the scene-setting to avoid anything that might prove logistically difficult for what’s essentially a two-hander, an understandable sacrifice given the time, but the frantic pace continues once he crash-lands on a mysterious planet, clumsily sprinting us through what should have been a more delicately effective buildup. The first act has the feeling of something that caused sleepless nights in the edit suite, jankily jumbled together, short and choppy scenes ending before they should, giving it a distractingly arrhythmic quality (criminally, the discovery that the planet contains dinosaurs (!) is truly fumbled). Once Mills finds a fellow survivor (an excellent, understated Ariana Greenblatt), the pair must make their way across dangerous terrain to an escape pod.

It’s a pretty unremarkable survival movie from then on, but efficiently so in the shortest of bursts, thanks to a physically committed Driver taking it all rather seriously and some moments of decent enough jeopardy. We’re teased something gnarlier, something that might have distanced it even further from the family-friendly Jurassic Park franchise other than quality and budget, but it’s all a little too restrained to be the extreme and extremely silly B-movie it could and should have been. One tellingly funny scene has Greenblatt’s cute kid rescue a friendly dinosaur before it gets promptly ripped apart by others but that’s as knowingly nasty as it gets – we’re otherwise stuck with a makeshift family melodrama squeezed in between some mostly unscary scare sequences. Rather than build up genuine suspense, as writers Scott Beck and Bryan Woods did in their breakout script for A Quiet Place, as writer-directors here they rely on an annoying overdose of jump scares, most of which cause yawns rather than jolts. In the slightly more involving final act, Beck and Woods lean further into the goofiness of their premise, as danger starts quite literally falling out of the sky, but it’s a case of too little, too late.

It’s not quite the toxic disaster it’s being treated as but 65 is nowhere near the giddy lark it should have been, crash-landing somewhere in the middle instead.

65 is out in UK and US cinemas on 10 March

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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.

By Todd Gilchrist

Todd Gilchrist

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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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Watch 65 with a subscription on Netflix, rent on Fandango at Home, Prime Video, or buy on Fandango at Home, Prime Video.

What to Know

Sodden sci-fi that somehow finds a way to bungle Adam Driver fighting dinosaurs, 65 is closer to zero.

Although it's silly, predictable, and sort of slow, 65 's missed opportunities are mostly balanced out by solid survival thriller action.

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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: 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.

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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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Cast & crew
User reviews

An astronaut crash lands on a mysterious planet only to discover he's not alone. An astronaut crash lands on a mysterious planet only to discover he's not alone. An astronaut crash lands on a mysterious planet only to discover he's not alone.

Bryan Woods
Adam Driver
Ariana Greenblatt
Chloe Coleman
929 User reviews
176 Critic reviews
40 Metascore
1 nomination

Nevine's Mom

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Trivia The warning sound made by the ship's computer just after the crash was first used as the sound effect for the Martian walkers in The War of the Worlds (1953) .
Goofs At exactly 21:48 Mills is walking through some pine trees and the tree on his left has a red spray paint marking on it. The trailer reveals that these marks were made by Mills. However the scene was scrapped. (He later uses this powder substance to draw a map in it.)

Mills : It's not because of you; it's for you!

Crazy credits The TSG Entertainment logo dissolves into stars in space, leading directly into the opening shot of the movie, which is a long pan through celestial wonders of space, until the planet Somaris comes into view.
Connections Featured in AniMat's Crazy Cartoon Cast: Part of Halle's World (2022)

User reviews 929

benprichardsdotcom
Apr 9, 2023
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March 10, 2023 (United States)
United States
Cuộc Chiến Thời Tiền Sử
Bray, Ireland
Bron Creative
Columbia Pictures
See more company credits at IMDbPro
$45,000,000 (estimated)
$32,062,904
$12,328,361
Mar 12, 2023
$60,730,568

Technical specs

Runtime 1 hour 33 minutes
Dolby Digital
Dolby Atmos

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The Ending Of 65 Explained

Scott Beck and Bryan Woods, co-writers of the first "A Quiet Place" film, deliver their third directed feature together with "65," a sci-fi action thriller that sees the future collide with the past. The film follows Mills ( Adam Driver ), a pilot whose mission to transport people is upended after asteroids damage his ship, causing him to crash on an unknown planet. Although Mills has no idea where he is, the film tells us that he has landed on Earth — albeit 65 million years ago when dinosaurs roamed the land and human civilization was nowhere in sight. With few options, Mills grabs Koa (Ariana Greenblatt) -– a young girl who's the only other survivor -– and begins traversing these dangerous lands in the hopes of reaching the other half of his ship to possibly escape.

"65" does its best to make dinosaurs scary again through its intense action and some of the creepier creatures that Mills and Koa come across. Along with some thrilling sci-fi action, the film delivers some interesting story beats for Mills and Koa as their personal struggles are touched on and they gain a stronger connection with one another. The film's finale is especially rich with story moments and action as the pair attempts to escape before a cataclysmic event keeps them in this prehistoric prison. With a lot happening in the film's final moments, let's delve into the fast-paced finale and nail-biter ending of "65."

Future meets past

While it might seem strange to see a futuristic soldier like Mills stuck in the middle of a prehistoric world, the film does delve into how he got there. Mills is actually from a distant planet whose people act and speak like human beings. The film never clarifies what species or race Mills people exactly are, so it's safe to assume that they must be humans too. Either way, Mills is tasked with transporting people to an undisclosed location, but his ship suffers severe damage from a cluster of asteroids, forcing him to crash-land on Earth.

So rather than Mills arriving on Earth through some kind of time-traveling or universe jumping, he simply exists 65 million years before our time. Mill's people are just so advanced that they've been able to develop the sophisticated technology and weapons that ultimately help him survive. Even with these tools, though, Mills faces fierce opposition from both the environment and creatures he's forced to fight against, leading to him nearly losing his life on more than one occasion. "65" is truly a future meets past scenario that pits futuristic tech against prehistoric beasts to see who's really dominant.

The meteor that killed the dinosaurs

Throughout the film, there is an obscure red-looking entity in the sky that seems like it's drifting closer to Earth. Koa is the first to see it when she notices a weird light phenomenon above her. However, when Mills sees it sometime later, it looks much more ominous and massive. At first, you can't help but hope that maybe it's just the rescue transport Mills called for coming down to Earth, but once Mills is able to get an actual read on what this strange entity is, it's much worse than expected.

Mills' scanner says that it's actually a gigantic meteor with the mass to cause cataclysmic destruction once it impacts Earth. Perhaps you are familiar with the idea that the dinosaurs were killed by a massive asteroid that caused a mass extinction event ? Well, this is that meteor — and it surprisingly has a stronger connection to Mills' current situation.

The asteroid cluster that Mills encountered earlier, which ultimately caused the ship to crash, actually came from this world-ending meteor, and it looks like it's coming to finish the job. This meteor adds new stakes to Mills and Koa's escape and plays a big role in making the finale of "65" super intense and visually stunning.

Brought to the edge

Mills crashing into this rough survival situation has a deeper effect on him than initially expected and hints at a secret he hides throughout the film. Once he's able to get up after the crash, he sees that nearly all the passengers are dead and that half of his ship is missing. Even worse is that the part of the ship containing the escape pod is nowhere in sight, which means that there's virtually no way off the planet. After his first few steps outside, Mills also sees how dangerous the environment truly is. Rather than try to survive, he looks like he's ready to end things.

While he attempts to call for help at first, he eventually just tells them that he isn't worth looking for and prepares to end his own life right then and there. However, he soon finds Koa, and she gives him a reason to keep going. Given how harsh this environment is and how vicious the creatures are, it's hard not to blame Mills for thinking that things are over.

It later becomes clear that Mills' hopelessness stems from the death of his daughter, Nevine (Chloe Coleman). Mills' willingness to accept his fate after the crash is the first moment that hints at that.

If you or anyone you know is having suicidal thoughts, please call the National Suicide Prevention Lifeline by dialing 988 or by callin g 1 -800-273-TALK (8255).

Seeing something more

Mills' relationship with Koa starts on some rocky ground. Their inability to communicate — because they don't speak the same language — makes for some frustrating moments between the two, with Koa sometimes doing her own thing, which really gets under Mills' skin. However, Mills eventually warms up to Koa because he sees her as something more than just a helpless survivor — he almost begins to see her as a surrogate daughter. While it at first appears to annoy Mills, he definitely appreciates Koa's interest in learning about his daughter through video messages. They watch a hologram of her together in the cave and it feels like a real bonding moment between them.

Ultimately, Mills and Koa have some real father/daughter energy in some of their more light-hearted moments together. It's these moments, which connect back to Mills' daughter and the way that he does everything he can to protect her, that make it clear that he sees his daughter in Koa. Plus, once we learn that Mills already knows that his daughter is dead, it becomes obvious that he's trying to make up for what he couldn't do for Nevine.

Mills and Koa's bond is a central part of the film's heart and arguably the main thing that keeps them going over the course of their survival adventure.

Environmental horrors

The vicious dinosaurs in "65" are certainly enough to make surviving in this world a daunting task for Koa and Mills, but it's far from the only thing they have to worry about. While the big creatures are tough to deal with on their own, there are also some big nasty bugs that cause the pair some trouble in their journey. There's a gut-wrenching moment when one of the bugs crawls down Koa's throat while she's sleeping that is sure to leave a massive knot in your stomach. Beyond that, just looking at the sticky goo that comes from one of the bugs that Mills crushes makes you not want to touch an insect ever again.

Unfortunately, the environment is just as deadly as the creatures they find in it. As Mills learns, it's very easy to walk into deadly tar fields or quicksand. Mills and Koa's cave exploration nearly proves fatal when a cave-in occurs. Of course, there's also the geyser field that Mills first comes across after landing on the planet spews water so hot that it could melt skin.

"65" makes viewers thankful that Earth isn't like this anymore since it looks like a genuinely nightmarish world to try and survive.

Is there help?

Almost as soon as he crashes on Earth, Mills attempts to contact his people to try and organize a rescue for him and the other passengers. However, after realizing that all the passengers are dead, he deletes the help message and calls off help — largely because he thinks it's hopeless anyway. Once Mills finds Koa still alive, though, he creates a message that once again signals the need for assistance, and he's left wondering if anyone will come. So, does anyone pick up Mills' distress signal?

Luckily for him and Koa, his message manages to reach someone, but they're not exactly within easy reach. Based on what his scanner says, a ship will meet him at an interception point in space to take him and Koa home. However, the only way for Mills and Koa to get back to space is by finding a distant escape pod before the fast-approaching meteor strikes Earth.

It's a shame that no one can come and just scoop up Mills and Koa from this horrific situation, but the realization that there is a way home at least drives them to survive and push forward.

Koa's realization

Koa's main concern throughout the film is finding her parents. Mills initially tells her that her parents are at the top of the mountain where the escape pod is, but he only tells her this to get her to go on the journey with him. In reality, Mills knows that her parents are dead and only tells her otherwise to keep her motivated as they journey toward the escape pod. There's even a point where Mills becomes so frustrated by their situation and language barrier that he tells her that he lied. Unfortunately, since Koa can't understand him, she still doesn't know that her parents are dead until she finds the destroyed escape pods.

This realization that Mills has lied about her parents being dead understandably hurts her and she becomes furious with him. For Koa, the journey to the ship likely feels like it was for nothing now, and part of her would rather just stay on the planet and die rather than go on without her parents. It's a tough moment for Koa, and it almost seems like she's not going to go along with Mills to leave Earth.

However, he's able to get her back on his side by deeply opening up to her about what happened to his daughter.

The truth behind Mills' daughter

When Koa gets angry at Mills for lying about her parents, he decides it's a good time to tell her about what really happened to his daughter Nevine. When Mills first left, his daughter was set to go through a procedure that would cure her of a mysterious illness. This procedure would be paid for by this transport job Mills was completing when he crashlanded on Earth. Although he would be away from his daughter for two years while completing the trip, at least she would be healthy when he returned. Unfortunately, Nevine died while he was out doing this job — which means Mills never got to see her again after he left.

The death of Mills' daughter is hinted at throughout the film, and there are some key moments that show Mills' frustration. As noted earlier, his willingness to accept his fate at the start of the film shows the lingering pain he has from his daughter's death. The video messages from her also start to take a dour turn that matches the gut-wrenching feelings of some of the dreams Mills has about her. Further, the way Mills views Koa as a daughter and how he protects her also make more sense once it's clear that his daughter is gone.

Mills opens up to Koa about his lingering pain and how he felt that protecting her was a way for him to feel like he did something right. This admission helps Koa forgive Mills, and she decides to continue on with him to try and return to their home.

Botched launch

Now that Koa and Mills have unpacked some of their emotional baggage with one another, they have little time to spare. Fragments of the meteor are crashing all over the place, and there isn't much time left until the meteor collides with Earth. They quickly hop into the escape craft and start the launch sequence. Unfortunately, the fragments begin to impact the mountain they're on and cause the terrain to collapse, sending the ship hurtling toward the ground.

Miraculously, not only are Koa and Mills somehow not dead from that violent crash, but the escape pod is also still seemingly operable. However, they can't launch it right away because the ship has been flipped upside-down. As they scramble to deal with the inverted spacecraft, they soon realize they have bigger problems on their hands — two giant dinosaurs are approaching them, creating a deadly predicament. Although safety seems right in their grasp, this meteor once again causes Mills and Koa problems that could put the final nails in their coffins.

Sacrifices and rescues

Mills and Koa have a lot on their plate — an unflyable ship, a giant meteor racing towards them, and two dinosaurs looking to gobble them up — so Mills springs into action. He's able to distract the two dinosaurs away from the ship, but his gun is malfunctioning which leaves him a sitting duck. Everything seems hopeless for once again, but Koa is able to show him a hologram of his daughter that motivates him to kill the two dinosaurs. Even better, one of the dinosaurs has actually reoriented the ship by slamming into it, which means it can fly again.

However, before they can escape, the dinosaur Mills has wounded approaches them seeking revenge. To protect Koa, Mills sacrifices himself to lead the dinosaur away from the ship towards the hot geysers he came across at the start of the film.

At first, the geysers don't seem to do much damage to the dinosaur, and Mills' wounded leg makes him easy prey. Luckily, Koa is there to rescue him by stabbing the dinosaur in the eye with the makeshift weapon she crafted earlier. This causes the beast to fall into the geyser, where the intense heat causes its skin to melt and ultimately kills it. The big finale action sequence of "65" is full of emotional sacrifices and rescues that show how Mills and Koa have come together.

Having killed the dinosaur, Mills and Koa have one last thing to do -– escape!

With the world-ending meteor nearing impact and Mills severely injured, there's no time to waste. Koa helps Mills back to the escape ship and Mills launches the ship. They narrowly fly into space, just missing the meteor, and make their escape from this prehistoric hellscape. Mills and Koa even get some satisfaction knowing that all the dinosaurs that have been hunting them down have been wiped out by the meteor and will no longer roam Earth.

Mills and Koa's fates are never truly revealed, but they should be heading to the interception point, which implies that they will be rescued. Throughout the end credits, the film even shows what happens after the meteor causes the extinction of the dinosaurs and the evolution that eventually leads to human civilization. Although the climax of "65" kept Mills and Koa on the run and near death the entire time, they finally have a moment of well-earned rest.

Could there be a sequel?

There's no news on a sequel for "65" going into development and there likely won't be one. The film ends on a pretty conclusive note, with Mills and Koa escaping Earth before the meteor hits and the end credits show how humanity developed over time. The dinosaurs are gone and there are no hints that someone else crash-landed there beforehand, so a prequel isn't likely either. Not to mention, the box office predictions for "65" aren't looking too hot. The film faces stiff competition in "Scream VI" and is projected to earn just shy of $10 million in its opening weekend — which isn't great considering its $45 million budget.

If the film does better than expected or becomes a hit on streaming, there's certainly a chance that a sequel could happen. Although there are no hints that someone landed on Earth before Mills, it's possible that a prequel could go back further to show someone else having to fight for their life. In this case, "65" could turn into a bit of an anthology series that sees futuristic soldiers having to face off against dinosaurs in a battle for survival.

Sequel ambitions for "65" will likely be snuffed out by lackluster opening weekend box office results, but a cult following could change things.

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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 (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 (Movie Review)

Estimated reading time: 4 minutes

65 is the new science fiction thriller starring Adam Driver, which was written and directed by the duo that wrote A Quiet Place .

As the title implies, the film takes place 65 million years ago, when the dinosaurs ruled the Earth. Mills ( Adam Driver ) is an astronaut. He appears to be human, but is not a native Earthling. He, along with his family, are from another planet in which he and crew do exploratory missions throughout the galaxy in order to carve out a living. He and his family are humans from another technologically advanced world. He has access to a spaceship and fantastic weaponry.

On his final journey before finally settling down with his wife and daughter, a catastrophic event occurs onboard his ship before crash landing on a prehistoric Earth. There is one other surviver named Koa (Ariana Goldblatt). She does not speak English, so she has trouble communicating with Mills. Mills, in the meantime, has to get his bearings of where he is and what is out there. They’ll both find out that the planet is overrun by dinosaurs.

I remember I first saw the trailer a few months ago and thought it looked pretty cool. It has a very minimal cast, so the rest of budget resources went to the visual effects. It basically looked like a futuristic version of Jurassic Park . With that being said, I think 65 buries the JP franchise after part 1.

Adam Driver and Ariana Greenblatt in 65 (2023)

65 is definitely a “shake and bake” type-of-film, because it’s easy to access and digest. It doesn’t seek to hit you over the head with what it’s trying to say, because it has many familiar and historical beats that the layman could probably figure out on their own.

As I mentioned at the beginning of the review, this was written and directed by Scott Beck and Ryan Woods, who wrote A Quiet Place and make their directorial debuts with 65 , which is also produced by Sam Raimi. The film clocks in at 93 minutes with credits, so it’s a shorter than usual film, but plays out in a self-contained way so it’s not long enough to become derivative. It’s a tight thriller that can live out side by side next to The Twilight Zone , The Outer Limits , etc.

One drawback that 65 has, that Operation Fortune had, is that it has also been released in a crowded March marketplace. I also watched 65 in a small AMC Laser theater, so I cannot wait until the 4K disc is released, because it will most certainly have a great Dolby Atmos soundtrack. If you can make it out in time, I do think 65 is a fun enough film that should be seen on the big screen.

65 is in theaters March 10, 2023 (USA)

Rating Certificate: PG-13 (for intense sci-fi action and peril, and brief bloody images)
Studios & Distributors: Beck Woods | Bron Creative | Colombia Pictures | Raimi Productions | Sony Pictures Entertainment
Country: USA
Language: English
Run Time: 93 Mins.
Aspect Ratio: 2.39:1
Directors: Scott Beck | Bryan Woods
Written By: Scott Beck | Bryan Woods
Release Date: 10 March 2023

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Review by Brian Eggert March 10, 2023

Whether you enjoy a movie can sometimes depend on your expectations—what you want out of the movie, and if that movie turns out as you hoped. For instance, when movies don’t resemble the trailers that sell them, audiences often feel disappointed, as though they’ve been given a product that wasn’t advertised. But with 65 , the trailer created an expectation to see Adam Driver playing a space explorer who crashlands on a planet, presumably Earth, around 65 million years ago, and must survive the treacherous, dinosaur-laden terrain before finding some way to escape. On those terms, the movie was exactly what I expected. It has no loftier ambitions than its ancient aliens fight big lizards scenario, and that’s just fine with me. Of course, if you expect more than that, 65 will probably disappoint. But this mid-budget CGI extravaganza has all the trappings of Atomic Age science fiction in a way that I loved. Plus, Driver’s commitment to the B-movie material helps legitimize the genre-heavy proceedings.

65 was written and directed by Scott Beck and Bryan Woods, best known for co-writing A Quiet Place (2018) with John Krasinsky—though they’ve since directed Haunt (2019), one of the freakiest slashers in recent memory. Longtime friends who have collaborated since their first feature, University Heights (2004), Beck and Woods have been steeped in genre work since their sophomore effort, Nightlight (2015). With their latest, they delve into well-worn territory that smashes the futuristic trappings of space travel with the distant past. The result recalls something like 2008’s Outlander , where Jim Caviezel plays an intergalactic explorer who crashes onto Earth during Viking times and teams with a group of Norwegian warriors to hunt a killer alien beast. Similar to that film, there’s a scrappy quality to Beck and Woods’ production. The special effects look convincing enough, but not blockbuster worthy. The limited cast speaks to the production’s minimalism. The concept is simple, efficient, and unpretentious.

Against the cotton candy wisps of a space nebula, titles explain that the story takes place “Prior to the Advent of Man,” on the planet Somaris, where the local population looks like Earthlings and speaks English. Adam Driver plays Mills, who leaves his wife (Nika King) and sickly daughter (Chloe Coleman) for two years on a long-range exploratory mission into the galaxy. The mission will pay for his daughter’s medical treatments, but he regrets having to leave them. A year into this star trek, Mills, a custodian who remains awake while the ship’s crew hibernates in cryo-sleep, suddenly finds the ship battered by an asteroid belt, causing a crash on a nearby planet—Earth. Most of the crew is dead, save for one survivor, Koa (Ariana Greenblatt), a young girl about his daughter’s age who does not speak his language. Using his bag of high-tech gizmos, Mills must guide Koa safely through dinosaur country to an escape vessel that separated from the main ship during the chaotic landing. Unfortunately, Koa’s family died in the crash, so the two become a surrogate father-daughter pair.

Shooting on location around Louisiana, the directors make the swamps and forests look overgrown and appropriately primordial. The movie’s world is brutal and out to kill Mills and Koa, evidenced by a scene where she saves a baby dino only to witness the creature eaten the very next moment. It’s a classic journey, an adventure story across rugged terrain with dangerous lizards, quicksand, and treacherous caves. Prehistoric bugs offer a serious yuck factor, such as when Mills slaps a beetle on his neck that leaves a glue-like ooze, or when another crawly thing nestles into Koa’s throat at night. According to Variety , the production cost $91 million but received sizable tax breaks that reduced the total costs by half. The budget seems to have been spent on the dinosaurs, which look slinky and oddly shaped, as though they have no bone structure, yet present a constant threat. Their designs won’t earn any points with paleontologists. Meanwhile, the relationship between our survivors builds along the way; it’s basic stuff, but the actors sell it.

The distributors at Sony didn’t screen 65 for critics. Although this is usually a bad sign, indicating the studio doesn’t believe in the material, they had no reason to be ashamed or embarrassed. After all, it’s better than the last couple of Jurassic World sequels, even if it borrows more than once from that series. And at 93 minutes, it’s about an hour shorter than last year’s Jurassic World Dominion and laser-focused on a simple, effective outcome—a welcome reprieve from today’s average two-hour-plus blockbusters. Sure, the script contains a few Screenwriting 101 setups, including Chekov’s acidic geyser and dinosaur tooth, and there’s a hammy theme regarding a hand whistle. But the script’s many clichés never prevent 65 from being a thoroughly entertaining time for anyone intrigued by the logline. If Adam Driver fighting dinosaurs with a laser gun sounds fun, you’ll probably enjoy yourself.

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65 movie review: Adam Driver's sci-fi thriller both salutes and subverts the idea of heroism and hope

Writers and directors Scott Beck and Bryan Woods present a story about survival, and design it with style with their new film 65.

Cast: Adam Driver, Ariana Greenblatt, Chloe Coleman

Directors: Scott Beck and Bryan Woods

Language: English

Why would someone title his film 65 ? The answer lies in the plot. A pilot called Mills ( Adam Driver ) is stranded on an unknown planet after a catastrophic collision and soon realizes he’s been marooned on Earth 65 million years ago. He now has nowhere to go, no means to escape, but he does have company to communicate with, Koa (a sure-footed Ariana Greenblatt).

Writers and directors Scott Beck and Bryan Woods present a story about survival, and design it with style. Because this is the same duo that wrote A Quiet Place, 65 brims with silences and shocks. There are moments of deep quietness before an overwhelming surprise makes an appearance. But they have far more complex and compelling ideas in mind. Since the makers flirt with the idea of making a science-fiction, there are shots of dinosaurs and other creatures.

Cinematographer Salvatore Totino shoots the film meticulously with his lenses and at places, 65 bursts with imagination. There are minimal dialogues because it’s more important for Mills and Koa to escape than to sit and chatter. They do, in spurts. At one moment, tired and exhausted of finding means to escape, Mills says ‘I’m just tired,’ and Koa repeats those words. The moment may be amusing since she has the tendency to repeat verbatim what he says; but what if she’s tired too? What if she too wishes to escape from this unknown territory?

And that’s precisely why Beck and Woods’ writing works even when the film relies more on camerawork and visual effects. Adam Driver, for all his machismo, is a man of vulnerability. The character not only salutes but also subverts the idea of heroism. Here’s a hero that has the balls to be thrown into the deepest end but also who can feel panic and fear. And that’s precisely what Mills does.

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.

65 is now playing in cinemas

Rating: 3 (out of 5 stars)

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Common sense media reviewers.

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 (6)
Kids say (10)

Based on 6 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 : July 29, 2023

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Home » Reviews » Hollywood Movie Reviews

65 Movie Review: Someone Thought Adam Driver Fighting Dinosaurs Would Look Cool & Never Developed The Idea Beyond That

65 never bothers to start parallel stories, it is more invested in speeding up and telling a tale that is predictable.

Star Cast: Adam Driver, Ariana Greenblatt, Chloe Coleman, and Nika King.

Director: Scott Beck and Bryan Woods.

What’s Good: Adam Driver driving his way through space and falling on Earth only to be as clueless as we are. The actor is too convinced.

What’s Bad: Well, the path that is too short and bumpy in all the wrong ways which affects his driving. Why do these dinosaurs look nothing like real dinosaurs, even with all the technology?

Loo Break: There are a few jump scares where nature might knock. You can take one before the climax starts unfolding because there are some good visuals there.

Watch or Not?: You won’t miss anything if you wait for this to land on your OTT ground.

Language: English (with subtitles).

Available On: Theatres Near You!

Runtime: 94 Minutes.

Mills (Adam Driver), a space driver, takes a 2-year job to export people in cryostasis to another planet. After bumping into an asteroid storm, his spaceship falls on Earth in 65 Million A.D. Populated by a variety of dinosaurs; he is stranded on a planet with a survivor Koa (Ariana Greenblatt).

65 Movie Review: Script Analysis

The world of cinema had a technical reset moment when Steven Spielberg showed us that even dinosaurs with a story given to them could be brought alive on the big screen. His Jurassic Park series, followed by Jurassic World movies, have set and become benchmark of dinosaur content across the globe. Somebody now decided to bring in Adam Driver and make him fight the giant Lizard only to grill one in the end like it’s easy has made the Spielberg fan in us cringe.

Written by the duo Scott Beck and Bryan Woods, 65 is an idea that gives room for multiple possibilities and numerous storylines. It takes us 65 Million years back on Earth when two people from a very advanced planet fell from the sky, and are stranded between the dinosaurs in the Cretaceous period. This could venture into the complexities of space and time and the landscape, or how the man has now no means but to develop something on this new planet, or how he forms a bond with this young partner as they are fighting to survive.

But 65 never bothers to start those parallel stories. It is more invested in speeding up to tell a tale that is predictable. It all makes you wait for a twist that might make this film unique. Unfortunately, it never does. Dinosaurs keep attacking, weird looking insects make all the attempts to bite, and the lead characters are running from point A to B, saving themselves with the most predictable trajectories. Whatever you see on the screen isn’t bad or unbearable, but nothing is like something you have never seen before. It is tried and tested formula, and to add more dismay, the makers don’t even use the characters to raise human conflicts in this wilderness.

There is a father of a dead teen daughter, a girl clueless that her parents died in the same crash that she survived; there is so much to explore when two people with tragic pasts come together. But the movie chooses to speed up so fast that it is least bothered about any catharsis. The short runtime kills it even more.

65 Movie Review: Star Performance

Adam Driver’s conviction in 65 is worth mentioning. The actor is convinced that he is out there to kick-start a franchise, so he acts well and becomes the best part of the movie. He is clueless, and so are we. You deserve better, Adam.

Ariana Greenblatt is a very natural performer because she doesn’t even have dialogues, but she makes us feel her pain of losing her parents even in this loosely written screenplay, and that is worth appreciating. The actor can do wonders if given a more lucrative and indulging character.

65 Movie Review: Direction, Music

The idea of hiding the giant monster and only revealing bits and pieces of it to surprise the audience by unraveling the majestic beast in the end only works if there is enough time involved in first setting up the beast and second at least giving him an entire sequence with full visibility with the protagonist. 65 does neither, and the majestic beast ends up being just another animal and not the mighty dinosaur who could end Adam’s life in a small size bite. Directors Scott Beck and Bryan Woods do no good to redeem their product that has dulled in the first 30 minutes.

Why do the dinosaurs look like they were designed for a fantasy show? Barring the giant beast, all the other dinosaurs never look real. Steven Spielberg made some in the last century and they made us dread them even when we knew they weren’t real. If technology can’t even ace half of his brilliance decades later, what exactly is the use of all that budget?

Christopher Nolan has done a brilliant job at explaining the world how space is a vacuum and sound cannot travel through it. Remember how Interstellar went all silent when the scene shifted outside the spaceship? 65, which is marketed as Sci-fi, forgets that very detail, and we hear the sound of a moving spaceship in a top-angle shot in the space. The audience is becoming more competent, you guys.

The music is average and even more than required in some places.

65 Movie Review: The Last Word

Adam Driver tries to make so much sense of a movie with enough to be a strong franchise but decides to rush with a predictable story without trying to branch out. Adam deserves better. We deserve better!

65 releases on 17 March, 2023.

Share with us your experience of watching 65.

For more recommendations, check out our Puss In Boots: The Last Wish Movie Review here.

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Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, kingdom of the planet of the apes.

Now streaming on:

When Rupert Wyatt's 2011 prequel " Rise of the Planet of the Apes " revived a five-decade-old franchise—one that spanned books, films, TV series, and comics since the '60s—it did so with a refreshing commitment to a powerful, timeless story: simple but not simple-minded, deeply emotional but far from corny.

Portrayed via groundbreaking performance capture technology by Andy Serkis (delivering the kind of actorly nuance that shouldn’t have been overlooked by The Academy), the film’s Ape protagonist Caesar has led that story through the two sequels, both of them elegantly directed by Matt Reeves —2014’s “ Dawn of the Planet of the Apes ” and 2017’s “ War for the Planet of the Apes .” Raised by James Franco ’s caring human hands in the first film, Caesar quickly broke through the classist and discriminatory human world’s self-destructive greed in the trilogy and claimed his deserving place as the leader of his kind, while a manmade virus made Apes smarter, and robbed humans of their intelligence and speech abilities, nearly eradicating mankind.

As a whole, the trilogy became perhaps the finest franchise of this century, standing tall against the loud, bloated mega-verses and unexpectedly reminding us what we want from big-budget, sequel-minded Hollywood: something thoughtful, entertaining and insightful about who we are and aspire to be. The new film, “ The Maze Runner ” director Wes Ball ’s brilliant “Kingdom of the Planet of the Apes,” walks securely in the footsteps of this recent legacy, wearing the Caesar-centric films’ values like fairness, loyalty and communal solidarity on its sleeve with pride.

Like its predecessors, Ball’s sequel knows these principles don’t belong to humans exclusively—not in his highly imaginative sci-fi adventure, not in the real world where the animal kingdom lives by its own set of rules and ethics. And along with his screenwriter Josh Friedman (of the wonderful “ Avatar: The Way of Water ,” with which you will notice plenty of visual and thematic parallels here), Ball confidently puts forth a film that is exciting and visually articulate in its action setpieces as it is thoughtfully coherent in its plotting. In “Kingdom,” there is not a single wasted idea or scene that feels randomly introduced without a soundly rewarding payoff that deepens and completes story. In other words, here’s a film—well, a franchise—where you see smart writers and filmmakers at work towards bringing things full circle, not meeting rooms dedicated to soulless fan-servicing.

The tale of “Kingdom” is set generations after the events of the “ War ,” after the time of Caesar. Young chimpanzees Noa ( Owen Teague ), Anaya ( Travis Jeffery ), and Soona ( Lydia Peckham ) of the Eagle Clan—all also portrayed via performance capture—climb massive heights at the start of the film so that Noa can find an eagle egg of his own per his clan’s rituals and bond with the majestic bird over the years like the elderly of his world. After a beautifully shot, eventful escapade nearly costing him his life, the fearless Noa manages to claim his egg from a nest.

But when a mysterious human— Freya Allan ’s feral and mercurial Mae—who is tailing him accidentally breaks it, Noa sets off to find a new one, unintentionally making his peaceful home base a target of the villainous masked apes led by Proximus Caesar ( Kevin Durand ). Twisting Caesar’s dignified teachings and wise words like “Apes Together Strong” and building an army to one day possess the secrets to the technology humans have left behind generations ago, Proximus destroys Noa’s village, kills his father, and hunts down Mae in his quest. Throughout these nail-biter cat-and-mouse sequences, immersive cinematographer Gyula Pados ’ camerawork is impressive and spine-tinglingly exciting, crafting large-scaled action that is heart-poundingly tense, and more logically constructed than what we often see these days.

After a lovely interlude when Noa meets a lonesome orangutan and learns about the real Caesar as a strong, moral, and compassionate leader, the young ape and Mae find themselves in Proximus’ captivity along with other enslaved members of the Eagle Clan, including Noa’s aforementioned buddies. At a windswept and ocean-battered base next to a locked vault that humans have evacuated, there is also William H. Macy ’s Trevathan, an intelligent, Vonnegut-reading human tasked to teach Proximus everything he knows about the human ways. Daniel T. Dorrance ’s production design truly sings in these segments with the level of detail draped across the “ Waterworld ”-like ape settlement and the vault, once we finally get inside (albeit, perhaps a bit conveniently).

Gradually and throughout a stunning third act where the “Kingdom” unleashes some truly stunning “The Way of Water”-style visuals, the film plants the seeds of even further chapters to come, renewing its thematic queries around whether inter-species peace could ever be achieved. But perhaps more importantly, the pronouncedly anti-gun and anti-violence “Kingdom” explores the concerns and catastrophes of the modern world smartly and thoughtfully within its construct. Are there times that necessitate the abandonment of pacificism? (There is especially one shocking scene involving Mae that ponders this question that a lesser toothless film would be too afraid to ask.) Are we learning the right lessons from our past, if we’re learning anything at all? Why the hell can’t we all get along?

To be clear, “Kingdom” doesn’t have the answers. But you can bet your bottom dollar that this rare, deeply cinematic Hollywood franchise won’t stop digging until we get a little closer to knowing.

Tomris Laffly

Tomris Laffly is a freelance film writer and critic based in New York. A member of the New York Film Critics Circle (NYFCC), she regularly contributes to RogerEbert.com , Variety and Time Out New York, with bylines in Filmmaker Magazine, Film Journal International, Vulture, The Playlist and The Wrap, among other outlets.

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Film credits.

Kingdom of the Planet of the Apes movie poster

Kingdom of the Planet of the Apes (2024)

Rated PG-13

145 minutes

Owen Teague as Noa

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Movie Review: The colossal melancholy of Ceylan’s ‘About Dry Grasses’

This image released by Janus and Sideshow Films shows a scene from “About Dry Grasses.” (Sideshow and Janus Films via AP)

This image released by Janus and Sideshow Films shows, from left, Merve Dizdarin, Deniz Celiloğlu and Musab Ekici in a scene from “About Dry Grasses.” (Sideshow and Janus Films via AP)

This image released by Janus and Sideshow Films shows Deniz Celiloğlu, left, and Musab Ekici in a scene from “About Dry Grasses.” (Sideshow and Janus Films via AP)

This image released by Janus and Sideshow Films shows Merve Dizdarin, left, and Deniz Celiloğlu, left, and Musab Ekici in a scene from “About Dry Grasses.” (Sideshow and Janus Films via AP)

This image released by Janus and Sideshow Films shows Merve Dizdarin a scene from “About Dry Grasses.” (Sideshow and Janus Films via AP)

This image released by Janus and Sideshow Films shows, from left, Deniz Celiloğlu, Musab Ekici and Merve Dizdar in a scene from “About Dry Grasses.” (Sideshow and Janus Films via AP)

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Nuri Bilge Ceylan makes long films , by movie standards, but short ones by Russian literature standards.

There may be no filmmaker more consciously working in a novelistic tradition. The Turkish director counts reading “Crime and Punishment” as a formative experience. His Palme d’Or-winning 2014 film “Winter Sleep” adapted a pair of Chekhov short stories. But regardless of any direct correlations, Ceylan’s films — colossal, existential, talky — reach for (and often attain) an enveloping vastness that recalls those big 19th century books. He sets thorny stories peppered with prickly philosophical questions against expansive landscapes. His films don’t burrow into you, you burrow into them.

Ceylan’s latest, “About Dry Grasses,” bears a name that — like his “The Wild Pear Tree” or “Once Upon a Time in Anatolia” — would do well as a parody arthouse title. The opening — in which a dark figure, seen from afar, steps off a bus onto a snow-blanketed plain on the Eastern Anatolian steppes — is likewise not hiding its tone of solemnity.

Our solitary man is Samet (Deniz Celiloğlu), who, like Paul Giamatti’s protagonist in “The Holdovers,” is a snobbish, misanthropic educator in a malcontented winter. Countless movies like “The Holdovers” have conditioned us to feel an automatic sympathy for such teacher characters, but doubts steadily accrue about Samet.

FILE - American director Francis Ford Coppola, center, carries his daughter Sofia, 8, through the crowd after the formal presentation of the U.S. film "Apolalypse Now", at the Cannes International Film Festival in France on May 19, 1979. His son Gian Carlo, 15, and his wife Ellie are left. Coppola is back at Cannes with his latest film "Megalopolis." (AP Photo/Jean-Jacques Levy, File)

He’s not especially friendly with his colleague and roommate Kenan (Musab Eki̇ci̇). When he’s reluctantly set up for tea with a fellow teacher, Nuray (an exceptional Merve Dizdar, winner of best actress at Cannes ), from a nearby village, he mostly moans about the backwardness of their rural region. His four-year term is nearly up, and he says he’s bound for Istanbul. At school, Samet styles himself as a less rule-bound teacher, looking down on some of his colleagues. But he’s no inspiring leader to his young students, either. “None of you will become artists,” he says in one rant.

Later, Samet will ask: “Does everyone have to be a hero?” He, certainly, is more of the anti-hero variety, but he’s also one of the most complicated main characters I’ve seen in years. He’s quite bitter, particularly after the student he has the warmest relationship with — Sevim (Ece Bağci) — accuses him of inappropriate behavior. She does it as a way to get back at him for concealing a love letter she wrote that was confiscated. He appears to be innocent, but there’s also something unmistakably intimate about their interactions. He gives her discrete gifts and and purposefully leaves the door open when she visits his office.

Samet is investigated for not “respecting distance” with Sevin and her classmates, a somewhat ironic charge given that Samet, a sour pessimist, seems to be keeping himself at a distance to most everything. “About Dry Grasses” tracks the investigation of Samet, yet it hinges more on his relationship with Nuray.

She bears a limp, a result of a suicide bombing during a protest in Ankara. In the film’s centerpiece scene, they spar over dinner in an extended dialogue about politics. She has fight and spirit still in her, and believes in the benefits of community. Samet is more hopeless and jaded, a quality that attracts Nuray, almost against her wishes. Not because she agrees with Samet but because she fears, maybe, that he’s right.

Ceylan has a knack for prolonging such debates in his films past their natural end point, turning the exchanges into something that can feel too dryly essayist. But it also may be his nature to bring a film to the very brink of philosophical quandary. In “About Dry Grasses,” he goes a step further with a fourth-wall flourish at the height of Samet and Nuray’s conversation. Why, at this point, does Ceylan insert a stark reminder that this is a movie? Is it his own Samet-like withdraw or a sudden flash of candid revelation?

Either way, it goes to the heart of Ceylan as a filmmaker. Far from just a bookish movie director, he has adopted many of cinematic modes of his heroes, Tarkovsky and Bergman, and translated them into his own unique and still evolving vernacular. As much as Russian literature may be a foundation for him, his movies are richly of Turkey. There are aspects of “About Dry Grasses” — the ID-checking police, the sexist bureaucrats in the school system — that place the Samet-Nuray dichotomy in a social context that has surely shaped them.

There’s a profound, unresolvable melancholy to “About Dry Grasses” that’s hard to shake. It’s not just that Nuray is better than Samet — though she certainly is. It’s the sad tragic quality to Samet. He takes photographic portraits that appear at moments in the film. Ceylan, too, was a still photographer. It’s hard to wonder — especially in thinking about that metafiction moment — how much he identifies with Sevim. But I wouldn’t trust any one reading of “About Dry Grasses,” even my own. It contains too many multitudes for that.

“About Dry Grasses,” a Janus Films release, is not rated PG by the Motion Picture Association. In Turkish with English subtitles. Running time: 197 minutes. Three and a half stars out of four.

Screen Rant

Madame web broke the golden rule of superhero movie villains marvel spent 20 years protecting.

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Madame Web Review: Sony's New Spider-Man Universe Movie Is A Horrible, Cheap Imitation

10 reasons to watch madame web now that it's streaming despite its disappointing reviews, 10 iron man deleted scenes that would have changed the mcu.

Madame Web's poor portrayal of the arch-villain, Ezekiel Sims, lacks any backstory or depth, making him one-dimensional and infuriatingly bland.
Marvel movie villains are typically sympathetic and multi-dimensional, contrasting sharply with Sims' unexplained wealth and excessive homicidal tendencies.
Sony's mishandling of the villain rulebook highlights the studio's failure to create compelling villains, a critical element in successful superhero movies.

Madame Web has drawn a lot of criticism since its release, but one of the most egregious mistakes it made was breaking a 20-year-old Marvel movie villain rule. Madame Web remains one of the worst-rated superhero movies , all but sealing the fate of Sony's languishing Spider-Man Universe. Much of the blame for this state of affairs is leveled at the script, penned by the same writers who wrote Morbius . While Morbius was lambasted upon release, however, it at least handled its arch-villain, Milo, with a greater level of respect and nuance.

Madame Web details the origin story of Cassandra Web, indulging in ample creative liberties in adapting her comic book origins. The presence of the movie's villain, Ezekiel Sims, is one of the most notable of these, as the movie transforms him into an out-and-out villain instead of a positive mentor figure like he is in the comics. While this doesn't necessarily warrant criticism in itself, Madame Web failed in every conceivable way to justify his villainy, even at face value.

With an awful script and not a single ounce of charm among the star-studded cast, Madame Web feels like little more than a Spider-Man movie knockoff.

Madame Web's Villain Has Absolutely No Story, Plan Or Origin

Aside from repeatedly stating that he " came from nothing, " Ezekiel Sims reveals very little about his origins - making it exceptionally hard to invest in him as a character. His comic book connection to the mystical side of the Spider-Man mythos is severely underplayed in Sony's adaptation to the point of being nonexistent. Instead, the arch-villain is portrayed as possessing powers similar to Spider-Man without much elaboration, which he proceeds to employ in several attempts (thwarted by Cassie Webb's powers of precognition) to murder three teenagers. His motivations entail surviving a vision of his death at their hands.

In Marvel Comics, Ezekiel Sims is a mentor to and protector of Spider-Man, especially in his confrontations with the vampiric villain, Morlun.

While there is a semblance of sympathy to be found in these motivations, the distinct lack of backstory makes it exceptionally hard to see Sims as more than a villain in a suit hellbent on murder . Poorly executed moments of exposition (comprising most of Madame Web 's worst lines ) attempt to elaborate on Sims' background but fail to deliver any reason to care about Sims or his looming fate. His seemingly vast amount of wealth and excessive homicidal tendencies are just taken for granted, making him about as compelling as the universally panned portrayal of Bane in Batman & Robin .

Marvel's Rulebook Makes A Good Villain Essential

All of this flies in the face of a well-established Marvel movie trope and intensifies the errors of Sony's ways. Ever since X-Men and Spider-Man launched the genre into the powerhouse it is today, Marvel movie villains have been at least somewhat sympathetic , with the most sympathetic Marvel movie villains being among the franchise's most iconic. Even if Ezekiel Sims had been a little less blasé about murdering everyone (including a pregnant woman) he might have garnered some level of empathy. Instead, he is infuriatingly one-dimensional.

Even Marvel's worst cinematic adaptations of classic villains like Malekith or MODOK are capable of surpassing pantomime levels of villainy. Sony has itself shown that even villains with a one-track mind towards violence, like Carnage, can be compelling with enough backstory, while its second-worst-rated movie in the franchise at least had a sympathetic villain in the form of Milo. In its future attempts to portray the origin stories of villains-turned-antiheroes like Kraven the Hunter, the studio should learn from the mistakes encapsulated by Ezekiel Sims in Madame Web - although the prognosis looks bleak.

Madame Web is now streaming on Netflix.

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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' 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 review
Unusually, for an elevator pitch genre film such as this, it starts off in far shakier territory than where it ends up. Driver's pilot, Mills, is saying goodbye to his wife and sick daughter ...
'65' Review: Adam Driver Battles Dinosaurs in Derivative Thriller
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. In '65 ...
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
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 ...
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: 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
Summary After a catastrophic crash on an unknown ... Mixed or Average Based on 27 Critic Reviews. 40. 11% Positive 3 Reviews. 59% Mixed 16 Reviews. 30% Negative ... 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 rivals. Read More
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.
The Ending Of 65 Explained
The Ending Of 65 Explained. Scott Beck and Bryan Woods, co-writers of the first "A Quiet Place" film, deliver their third directed feature together with "65," a sci-fi action thriller that sees ...
'65' Review: Adam Driver vs. Dinosaurs in Underwhelming Sci-Fi
Release date: Friday, March 10. Cast: Adam Driver, Ariana Greenblatt, Chloe Coleman, Nika King. Directors-screenwriters: Scott Beck, Bryan Woods. Rated PG-13, 1 hour 33 minutes. In any case, said ...
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 (Movie Review)
65 (2023) 65 is the new science fiction thriller starring Adam Driver, which was written and directed by the duo that wrote A Quiet Place. As the title implies, the film takes place 65 million years ago, when the dinosaurs ruled the Earth. Mills ( Adam Driver) is an astronaut. He appears to be human, but is not a native Earthling.
65 (film)
65 is a 2023 American science fiction film written and directed by Scott Beck and Bryan Woods, and starring Adam Driver.Driver plays an astronaut who crashes on an unknown planet with a challenging environment and attempts to help a young girl, played by Ariana Greenblatt, survive.Beck and Woods produced with Sam Raimi, Deborah Liebling, and Zainab Azizi.
65 (2023)
But with 65, the trailer created an expectation to see Adam Driver playing a space explorer who crashlands on a planet, presumably Earth, around 65 million years ago, and must survive the treacherous, dinosaur-laden terrain before finding some way to escape. On those terms, the movie was exactly what I expected.
65 ENDING EXPLAINED (Full Story Breakdown + Analysis)
65 just released in cinemas, and fans are flocking to see the new dinosaur action movie. But what happened with its ending? What did it all mean? Well join u...
65 movie review: Adam Driver's sci-fi thriller both salutes and
Writers and directors Scott Beck and Bryan Woods present a story about survival, and design it with style. Because this is the same duo that wrote A Quiet Place, 65 brims with silences and shocks. There are moments of deep quietness before an overwhelming surprise makes an appearance.
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
Summary. Adam Driver plays an astronaut who crash lands on a mysterious planet only to discover he's not alone. ... 65 Review. Mar 10, 2023 - Adam ... 65 is a decent film about fatherhood and ...
65 Movie Review: Someone Thought Adam Driver Fighting ...
65 Movie Review ( Photo Credit - A Still From 65 ) 65 Movie Review: Script Analysis. The world of cinema had a technical reset moment when Steven Spielberg showed us that even dinosaurs with a ...
Official Discussion
An astronaut crash lands on a mysterious planet only to discover he's not alone. Director: Scott Beck, Bryan Woods. Writers: Scott Beck, Bryan Woods. Cast: Adam Driver as Mills. Ariana Greenblatt as Koa. Chloe Coleman as Nevine.
'65' movie review: A disappointing survival drama that hits us like an
65 (English) Director: Scott Beck, Bryan Woods. Cast: Adam Driver, Ariana Greenblatt. Runtime: 93 minutes. Storyline: A pilot who crashlands his spaceship on an unfamiliar planet must save himself ...
IF Review: John Krasinski's Heartwarming, Creative Film Will Make You
Considering John Krasinski's two most recent directorial efforts were A Quiet Place and its sequel, it's a bit surprising how much of a complete 180 his new movie IF is. Replacing a post-apocalyptic world ravaged by deadly monsters with a fantastical, lighthearted landscape populated with kind creatures, the succinctly-titled movie plays as more of a character study exploring various themes ...
Furiosa Review: Mad Max Prequel Is A Visual Feast That Adds Exciting
George Miller expands the world of Mad Max even further with Furiosa: A Mad Max Saga, which details the time in Imperator Furiosa's life before the events of Mad Max: Fury Road.Miller's post-apocalyptic story began in 1979 with the Mel Gibson-led action adventure Mad Max, which introduced the now iconic world of The Wasteland and the biker gangs that run it ragged.
What Megalopolis Is Actually About: Francis Ford Coppola's New Movie
A trailer for Francis Ford Coppola's long-awaited Megalopolis has finally been released, revealing more key details about the film's ambiguous plot. Coppola, the legendary director of Apocalypse Now (1979), The Godfather (1972), and The Godfather: Part II (1972), has been celebrated for decades as one of the greatest filmmakers of all time.Coppola hasn't directed a feature film since 2011's ...
Kingdom of the Planet of the Apes movie review (2024)
When Rupert Wyatt's 2011 prequel "Rise of the Planet of the Apes" revived a five-decade-old franchise—one that spanned books, films, TV series, and comics since the '60s—it did so with a refreshing commitment to a powerful, timeless story: simple but not simple-minded, deeply emotional but far from corny.Portrayed via groundbreaking performance capture technology by Andy Serkis (delivering ...
Movie Review: The colossal melancholy of Ceylan's 'About Dry Grasses'
He's not especially friendly with his colleague and roommate Kenan (Musab Eki̇ci̇). When he's reluctantly set up for tea with a fellow teacher, Nuray (an exceptional Merve Dizdar, winner of best actress at Cannes), from a nearby village, he mostly moans about the backwardness of their rural region.His four-year term is nearly up, and he says he's bound for Istanbul.
Madame Web Broke The Golden Rule Of Superhero Movie Villains Marvel
Madame Web has drawn a lot of criticism since its release, but one of the most egregious mistakes it made was breaking a 20-year-old Marvel movie villain rule. Madame Web remains one of the worst-rated superhero movies, all but sealing the fate of Sony's languishing Spider-Man Universe.Much of the blame for this state of affairs is leveled at the script, penned by the same writers who wrote ...
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Adult film star Stormy Daniels dished out salacious details of her sexual encounter with former President Donald Trump in 2006 from the witness stand on Tuesday, describing how they met at a ...

‘65’ Review: What on Earth?

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65 review – Adam Driver v dinosaurs in almost fun enough thriller

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

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

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The Ending Of 65 Explained

Future meets past

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65 (United States, 2023)

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65 (Movie Review)

65 is in theaters March 10, 2023 (USA)

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Review by Brian Eggert March 10, 2023

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