In 65, a pilot from an advanced civilisation embarks on a mission to carry passengers across space. Sometime into his mission, the ship he is piloting is hit by an asteroid field, and he crash lands on an unknown planet.
After making his way out of the wreckage, the pilot – who is called Mills – discovers he is one of only two survivors. The other survivor is a young girl, by the name of Koa, who speaks a language he does not understand.
With the ship destroyed, Mills and Koa’s only chance of getting home lies in an escape pod which became detached during the crash and is currently located at the top of a mountain. However, in order to get to the pod, Mills will need to guide Koa to the craft, using limited communication.
There is also one other very pressing problem: The planet that Mills and Koa find themselves on is Earth, 65 million years ago, during the Cretaceous period. This means in addition to locating the pod, they also have to contend with dinosaurs, prehistoric bugs, and the harsh environment of a planet that is far from civilised.
Directed by Scott Beck and Bryan Woods, and starring Adam Driver and Ariana Greenblatt, 65 is a sci-fi action movie, which is new to UK and US cinemas from today. The film is a small-scale tale about survival against the odds, with Driver and Greenblatt playing the unfortunate duo who get trapped on an inhospitable Earth.
Playing out like a cross between Jurassic Park (1993), Planet of the Apes (1968), Alien (1979), and Kong: Skull Island (2017), 65 has all the right ingredients for a tip-top adventure-picture. It has action, suspense, drama, and laser guns(!), as well as ruddy big dinosaurs with snarling gnashers!
However, while 65 has all the correct components to make a smashing film, and on paper sounds like a sure-fire hit, I’m sorry to say it doesn’t quite live up to its potential. While the film isn’t bad, and is actually enjoyable in places, there is a sense that it should be better than it is.
65 is decent enough at times, and creates the right mood and atmosphere, but it lacks the oomph and spark needed to truly excite. It moves a little too slow for its own good, and for a film which is set during the age of the dinosaurs, which could have all the dino-action it wants, it simply doesn’t have enough ‘terrible lizards’ to meet the required quota.
To be clear, the dinosaurs in 65 are mean, menacing, and really bloody good. Years of Jurassic Park movies have dulled our senses to the dangers of dinos, but 65 manages to make the creatures really terrifying again.
So, it is such a shame then, that while filmmakers Scott Beck and Bryan Woods manage to get the dinosaurs right, they fail to provide enough of them to create a lasting impression. Dinosaurs pop up here, they pop up there, but every time they are on screen it is all too brief, and few and far between.
Without the dinosaurs, lead characters Mills and Koa still have plenty of problems to contend with, with Earth being a particularly treacherous place to visit, but come on, it’s the dinos we want to see! No amount of quicksand or rock slides are ever going to be a suitable replacement.
There is also the issue of the film’s pacing, which feels a little too slow. For a 90-minute movie, the film doesn’t move quick enough, and this exposes some of its shortcomings in the action department.
On a more positive note, Adam Driver is excellent as Mills and he helps to add some emotional weight to the picture. In addition to his current predicament, his character is dealing with some past trauma, which helps to make him a fully-rounded hero and a solid lead.
65 also looks pretty good too. With the exception of one slightly off dino design, the visuals in this picture are strong, the film conveys a clear tone, and the music and lighting enhance the story.
The film also offers some nice interplay between Mills and Koa, and there is a suitable level of danger throughout the story, which demonstrates why these characters need to continually push forward to reach their escape pod. Everything on Earth at this particular point in history is deadly, and with no friendly faces around and little in the way of respite, there is a real need to get off the planet pronto!
All of these positives ensure 65 has something going for it, and they make it clear the directors are aiming in the right direction. Even if the film does fall short, you can’t say that it didn’t almost make it.
Overall, 65 isn’t a complete misfire, but it’s not amazing either. It has the bones of a good film, and everything appears to be in the correct place, but something just feels missing.
65 needs more action, more energy, and just generally more of what’s on offer. For a big screen title, which has a budget of $45 million, it sure does feel like something probably better suited to streaming, or maybe even reworked into a mini-series.
In fact, I half suspect 65 will do better on the streaming and home video circuits, than it will on the big screen. Without all the pomp and circumstance of a theatrical release, 65 is more likely to find its key audience, and some of its limitations may not seem so problematic.
While I did like a great deal of 65, it’s not an exceptional film. My advice is to lower your expectations and take it for what it is.
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