I watched 65 and I hated it. 1/5
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“65” (2023), directed by Scott Beck and Bryan Woods and headlined by the talented Adam Driver, takes us on a journey into the unknown. Driver assumes the role of Mills, a pilot who crash-lands on an enigmatic planet only to realize he’s stranded on prehistoric Earth.
Visually, the film boasts its most commendable facet. The CGI work is commendable, breathing life into the dinosaurs with an astonishing realism. This visual prowess, however, doesn’t suffice to redeem the film from its array of shortcomings.
The narrative of “65” treads on well-worn ground, lacking the spark of originality. It often feels like a rehash of clichés from other sci-fi flicks, such as the obligatory sprint from a pursuing pack of raptors, a trope all too familiar from the likes of Jurassic Park.
Moreover, the plot is pockmarked with unexplained gaps. The circumstances leading to Mills’ crash on prehistoric Earth are left frustratingly unaddressed. The film’s conclusion feels hurried and leaves the viewer yearning for a more satisfying resolution.
Characters in “65” emerge as underdeveloped and stock. Mills, our supposed anchor, comes across as a bland and unremarkable protagonist, while supporting characters fare no better. Koa, Mills’ companion portrayed by Ariana Greenblatt, regrettably serves as a mere tool for exposition and emotional support.
In terms of themes, “65” barely scrapes the surface. It predominantly strives to offer mindless entertainment, with only fleeting commentary on survival and the significance of family.
In its totality, “65” stands as a sci-fi endeavor that falls short of the mark. Its narrative lacks innovation and teeters predictably. The characters remain two-dimensional, and the thematic depth is scarcely explored. This film, regrettably, does not warrant a recommendation.
Additional observations on the film include the stilted and trite dialogue, exemplified by Mills’ proclamation of determination in the face of adversity. The pacing is uneven, with a sluggish first half giving way to a rushed and perplexing latter portion. Ultimately, the conclusion leaves much to be desired, leaving audiences with lingering, unanswered questions.
In sum, “65” emerges as a missed opportunity, despite its initial promise. While the film boasts impressive visuals and a promising premise, it succumbs to the weight of an unoriginal plot, flat characters, and superficial themes.