65 film

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

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 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. rexes and other saurian menaces, he faces quicksand, large bugs, falling rocks, malfunctioning equipment and the withering judgment of a 9-year-old girl. 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. As Mills, Adam Driver does a lot of breathing and grunting as he runs a gantlet of familiar dangers. Or science-fiction movie.

The '65' sci-fi film with Adam Driver. It comes out tomorrow and it's ok, but maybe there's a reason they screened it to critics last minute.

The frenzied finale is where “65” delivers the adrenaline rush teased throughout what came before, and the destination is worth the journey. When it comes to influences, “65” brings elements of “Jurassic Park” and “Enemy Mine” via “Aliens” and “Predator” through to original “Star Wars” and sci-fi B-movies from the 50s to the 80s. While the first two-thirds of the film gets the job done, it’s the third act where “65” goes all out, and it sticks the landing perfectly. The combination of great minds behind horror heritage and monster mayhem helps give “65” the jump scare-laced edge that keeps the breaths held, eyes wide, and seats gripped just enough. Add in the fact that the meteorite that will cause mass extinction is headed right for Earth, and the countdown is on. He rescues her, and although they don’t speak the same language, he explains that there is only one way home, a small craft that has survived the impact but is stuck high up on a mountain.

Adam Driver plays an astronaut from another planet who teams up with a little girl to fight dinosaurs on Earth 65 millions years ago in '65.'

Nor is the dialogue particularly scintillating, since it mainly consists of Mills speaking a few words and Koa repeating them quizzically. Nonetheless, the relationship between the two does generate some warmth, with Koa serving as a substitute daughter who rouses Mills’ protective paternal instincts. And Coleman, who has some experience playing opposite big tough guys thanks to her co-starring with Dave Bautista in That childlike enthusiasm permeates every frame of 65, which plays like something you might have seen at a drive-in decades ago on a double-bill with The Valley of Gwangi or When Dinosaurs Ruled the Earth. Unfortunately, Hollywood has raised the stakes mightily since then, so what could have been a perfectly viable B-picture back in the day now just seems rather low-rent compared with the sci-fi blockbusters of recent years. Especially since not long after the crash, the pair find themselves in a strange world populated by an array of dinosaurs who all seem to be very hungry and very, very cranky. The special effects are fine, but aren’t likely to cause Steven Spielberg to lose any sleep. The same could be said of Or, you could have the characters go back in time, which is the solution delivered by the directing-screenwriting team of Scott Beck and Bryan Wood with 65, in which Driver’s character, Mills, has to undergo the grueling two-year space mission to pay for medical care for his daughter (Chloe Coleman), who’s suffering from a grievous medical condition. It seems we’re not the only planet lacking universal health care. Another is to bring dinosaurs back to life, a la Jurassic Park and its many sequels.

A lot of critics are saying that 65 is awful -- but is it as bad as they say it is? Let's talk Adam Driver's new movie.

So is this the start of the human race? Where it falls flat is through no fault of the actors, as they all put their everything into this one. Later on in the film he is experiencing pain and he looks at his cut which is very clearly infected. Hologram messages that were sent to Mills of his daughter are played every so often to help tell that story, and her fate, as well as push the pacing along. Because of the language barrier, there is not a whole lot of dialogue in the movie. So the pair has to travel treacherous terrain, being careful so that they don’t get eaten by dinosaurs. Right around the time that a giant asteroid killed the dinosaurs. The majority of the 90 minute movie follows them as they journey from point A to point B to hopefully find a working escape pod and leave Earth. The two have a hard time communicating because they speak different languages and the ship translator is broken, but conveniently enough she instantly picks up on the words move, family, and home. He has left his family for two years to take this job so that they could afford medicine and treatment for his sick daughter, played by Chloe Coleman. Well, that is exactly what they are going to get. Adam Driver’s new movie 65 is out in theaters now and it is being pegged as pretty darn bad.

Driver stars as a crashed spaceship pilot racing against time to escape a predictable dino gauntlet in a prehistoric-set film that's no 'One Million Years ...

Scott Beck and Bryan Woods, the writers of “A Quiet Place,” blast Driver into the distant past for a dreary and dull sci-fi adventure.

(“ChatGPT, add George Lucas in the mix.”) By taking one more gig, Driver’s character not only leaves behind an adoring wife but, more urgently, an adoring and ailing daughter (Chloe Coleman), whose hologram messages of love, longing and increasing sickness are like stabs to his heart as he’s trying to avoid dinosaur teeth stabbing everywhere else on his body. “IN THE INFINITY OF SPACE” reads the next, which is, by the way, set against the backdrop of … So instead this poor character gets an untranslated language until she can trigger “aww’s” by learning the words “home” and “family” and, with stick figures, inventing cave art. I’m not saying there are quickie backlot black-and-white adventure movies from 90 years ago with more visual breadth, color range and compositional tension than “65,” but, OK, well, yes, I am saying that. It drops humans from eons away and ago into an extinction-level event, and instead of being full-on weird and wondrous about it, prefers to be utterly imitative and complacent. “BEFORE THE ADVENT OF MANKIND” reads the first. Think “Gilligan’s Island.” Not because it’s like “65.” Just because it’s more entertaining than “65.” Sometimes it just means that once majestic, still mysterious and endlessly fascinating creatures begin to feel like faceless goons in a video game. No, and that may be its problem. So, if you wanted to give him only one human companion to heighten that guilty-father feeling, out of all the possible cryogenically frozen passengers to survive an inconvenient ship crash, who would you pick? And later, after a sentient audience will have guessed from the huge dinosaur footprint that exploratory mission pilot Mills (Driver) has been stranded on a particular planet at a very particular time, here come the words: “A VISITOR CRASH LANDED ON EARTH.” Yes, that “65” refers to the number of millions of years ago. [COVID-19 pandemic](https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.latimes.com%2Fcalifornia%2Fcoronavirus-everything-to-know-right-now&data=04%7C01%7Ckevin.crust%40latimes.com%7C52633c0a516544dd252a08d9e81168f0%7Ca42080b34dd948b4bf44d70d3bbaf5d2%7C0%7C0%7C637795983749169191%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000&sdata=EARyZgH1vGMtlQdur%2F61n5fLiwKXExOWtv3guJOFSn8%3D&reserved=0).