Adam Driver, the popular actor who starred in the Star Wars franchise, returns to space once again, this time in a film that fails to impress. The film, titled “65,” suffers from a lack of focus and narrative coherence, leaving behind a choppy and disjointed editorial mess. Despite this, Driver’s performance as Mills, a stranded astronaut, is commendable, as he portrays his character with conviction and intensity.
The script, written and directed by Scott Beck and Bryan Woods, fails to offer Driver’s character the emotional depth and complexity that his previous roles boasted. However, it does allow for Driver to showcase his range as an actor by exploring various facets of his character.
The film’s success is mainly attributed to its torture porn credentials, which keep the audience engaged and on edge. The film also benefits from the playful dynamic between Driver and newcomer Ariana Greenblatt, who brings a vibrancy and liveliness to her role.
Shot during the early stages of the Covid-19 pandemic, the film suffers from logistical hindrances that hamper its execution. The film’s opening scene is hurried, with little time spent on exposition, leaving the audience struggling to connect emotionally with the characters.
The film’s premise centers around Mills’ crash landing on an undiscovered planet, which happens to be Earth during the Cretaceous period, over 65 million years ago. The film works best when it plays to the inherent coolness of dinosaurs, such as in the pulse-pounding raptor-wrestling scene or the heart-wrenching moment when Greenblatt’s character Koa tries to save a cute little dinosaur from quicksand, only to have it ripped to shreds by larger beasts.
Despite its successes, “65” ultimately falls short due to its lack of narrative coherence and spurious relationships between daytime and night. The film is not enough to fuel a sugar rush, nor does it have the weight of a profound film, leaving the audience feeling slightly underwhelmed. Nonetheless, Beck and Woods showcase their potential as directors by crafting some visually arresting scenes, such as the one where Mills is framed against a giant T-Rex skull.
In conclusion, while “65” may not be a perfect film, it still manages to entertain with its use of torture porn and playful dynamic between Driver and Greenblatt. While it misses the mark on narrative coherence and depth, it still manages to showcase the inherent coolness of dinosaurs on-screen.
