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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. Instead, it tries to juggle a wild survival story with a poignant family drama, but both elements feel so rushed and underdeveloped that neither ends up registering. There’s nothing to these characters, and the action sequences quickly grow repetitive and wearisome. There’s a jump scare, insistent notes from an overbearing score, some running and screaming, the gnashing of teeth, and maybe an injury before a narrow escape. Over and over and over again.

But the film from the writing-directing team of Scott Beck and Bryan Woods , whose credits include co-writing “ A Quiet Place ” with John Krasinski , offers an intriguingly contradictory premise. It takes place 65 million years ago, but suggests that futuristic civilizations existed back then on planets throughout the universe. On one of them, Driver stars as a space pilot named Mills. He’s about to embark on a two-year exploratory mission in order to afford medical treatment for his ailing daughter ( Chloe Coleman from “ My Spy ,” who’s featured in the film’s prelude and sporadic video snippets).

On the way to his destination, the ship Mills is flying enters an unexpected asteroid field, gets torn to shreds, and crashes. All of the passengers in cryogenic sleep are killed—except one, who just happens to be a girl around the same age as his daughter. Her name is Koa, and she’s played by Ariana Greenblatt . And the planet, which has swampy terrain reminiscent of Dagobah, just happens to be—wait for it—Earth.

“65” requires Mills and Koa to schlep from the wreckage to a mountaintop so they can commandeer the escape pod that’s perched there and fly out before dinosaurs can stomp and chomp on them. The creatures can be startling at times, but at other times they look so cheesy and fake, they’re like the animatronics you’d see at a Chuck E. Cheese restaurant. And yet! It almost would have been better—or at least more entertaining—if “65” had leaned harder into that silliness if it had played with the basic ridiculousness of mixing complex technology with the Cretaceous period. They rarely use Mills’ advanced gadgets in any inspired ways within this prehistoric setting. The few attempts at humor fall flat—they mainly consist of Koa making fun of Mills for being uptight—and moments of peril wrap up too tidily for us to luxuriate in their anxiety.

Worst of all, Driver doesn’t get to ham it up nearly enough here. He’s an actor of great intensity, which can be both thrilling and amusing if he’s amping it up in a knowing way. Imagine him screaming “More!!!” as he’s blasting Luke Skywalker in “ Star Wars: The Last Jedi ,” or punching a wall during an argument in “ Marriage Story .” But the man he plays in “65” is blandly heroic and just seems generally annoyed. Greenblatt, meanwhile, does the best she can with a character we know absolutely nothing about. Koa speaks a language that’s not English, so most of her exchanges with Mills consist of mimicking the basic words he says to her, including “family.” There’s no real bond between them, but neither is there any sort of prickly tension since they’re stuck with each other. “The Last of Us,” this is not.

Beck and Woods offer some clever camerawork here and there, but also some erratic editing choices. And they borrow quite a bit from the “ Jurassic Park ” franchise: a giant footprint in the mud or a dinosaur’s yellow eye leering menacingly through a window. But maybe that’s inevitable at this point. Their film only gets truly enjoyably nutty toward the end, with its climactic combination of a sneaky quicksand patch, a ravenous Tyrannosaurus rex, a well-timed geyser eruption, and a catastrophic asteroid shower. But by then, it’s too late for us—and the planet.

Now in theaters.

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series "Ebert Presents At the Movies" opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

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Rated PG-13 for intense sci-fi action and peril, and brief bloody images.

Adam Driver as Mills

Ariana Greenblatt as Koa

Chloe Coleman as Nevine

Nika King as Alya

Bryan Woods

Cinematographer

Salvatore Totino
Chris Bacon

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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 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

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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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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

Adam Driver
Science fiction and fantasy films
Action and adventure films

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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
927 User reviews
176 Critic reviews
40 Metascore
1 nomination

Nevine's Mom

(uncredited)
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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 927

benprichardsdotcom
Apr 9, 2023
How long is 65? Powered by Alexa
Does this movie have time travel?
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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65 review: a simple, bare-bones sci-fi thriller

“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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65 solves the tech problem Star Trek and Star Wars can’t unravel

Every science fiction movie should handle technology and special effects this way

Mills (Adam Driver), a space trucker stranded on Earth, looks grubby and wounded as he stands by a giant rock and holds up a small, boxy device thats projecting a small hologram of a ship image in 65

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For a movie about Adam Driver fighting dinosaurs, 65 sure came and went without much fanfare. The futuristic survival film — a collaboration between A Quiet Place writers Scott Beck and Bryan Woods — quietly slipped into theaters in March and was immediately overshadowed by Academy Awards coverage.

With the movie now streaming on Netflix, though, new audiences will rapidly find out what those few theatergoers already knew: 65 features a unique world that seamlessly blends analog and digital technology.

This is a film every franchise director should study: It’s a how-to guide with a clear vision about crafting a lived-in world straight out of classic science fiction, but with the full benefits of modern tech. Unlike so many of its peers, 65 draws inspiration equally from all periods of Hollywood science fiction, and its depiction of technology should become the gold standard for production designers from now on.

Over the last century, our vision of the future has been a moving target defined by advancements in practical and digital effects. Everything in Star Trek’s Kelvin universe films contradicts the retrofuturism of Star Trek and Star Trek: The Next Generation . Similarly, the production design of the Star Wars prequels takes full advantage of green screen technology to add new characters and locations into an existing, practically built galaxy, creating a visual disconnect that modern Star Wars shows like The Mandalorian and Andor are still working to merge.

Space trucker Mills (Adam Driver, in a grey retrofuturistic bodysuit) clutches a sleek grey space rifle as he walks among huge dinosaur rib bones in 65

Perhaps the most apparent dichotomy is between 1979’s Alien and 2012’s semi-prequel Prometheus , especially given Ridley Scott’s role as director of both. Although the latter is supposed to take place almost 30 years before Scott’s seminal sci-fi horror film, the anachronisms created by 40 years of VFX improvements are minorly amusing.

So in the era of IP, how do filmmakers revisit old franchises while still honoring the design breakthroughs of films released decades ago? For many creators, the answer is retrofuturism — a design framework that expands the scope of futurism on screen by reclaiming design principles from failed visions of tomorrow .

Unlike conventional futurism, which guesses at future technology based on current trends, retrofuturism draws inspiration from historical projections of the future, particularly from the American Atomic Age. If you made a modern movie in the style of Atomic-era cinema — reclaiming 1950s science fiction like Forbidden Planet or This Island Earth — the resulting analog technologies would be retrofuturistic design principles at work.

In the hands of a talented production team, retrofuturism can be used to give films a lived-in feel, showing that the future is, for better or worse, a reflection of modern societal challenges, rather than an evolution. The internet’s outpouring of love for Pedro Pascal brought new audiences to Prospect , Zeek Earl and Chris Caldwell’s film set in a workman portrayal of humanity’s future. Duncan Jones ’ Moon blends the best of 1970s science fiction set design with 21st-century special effects.

Astronaut Sam Bell (Sam Rockwell), with a big bushy beard, unkempt hair, and stains on his grubby T-shirt, slouches in an antique-looking leather chair amid sleek white space-station surfaces and a boxy robot sporting a no-expression smiley emoji in Duncan Jones’ Moon

And while modern retrofuturism is often used to comment on the failed promise of post-war optimism in America — there are no flying cars in retrofuturist societies, and no robot butlers — there are still films that tap into the boundless potential of the space race. Arati Kadav’s Cargo and Jack Plotnick’s Space Station 76 remind us to put our hope in people instead of technology, and they find warmth where other science fiction stories don’t.

But in embracing our past, these films also reinforce the inherent split in Hollywood futurism. Filmmakers can look to our past or imagine a more advanced tomorrow, but movies that attempt to do both — with production aesthetics that look for the best in both analog and digital visions of the future — are few and far between. That’s what makes 65 such a fascinating example of on-screen world-building.

Set 65 million years in Earth’s past, 65 carves out a space that’s unique among its peers. 65 protagonist Mills (Adam Driver), the interstellar equivalent of a long-haul trucker, lives in a society not unlike our own. In the film’s opening minutes, he admits that he’s only taking this particular delivery job for some much-needed help with his daughter’s medical bills.

But in a script with so little dialogue and backstory, the way technology is presented is more important than it would be otherwise. The design of Mills’ ship and its equipment needs to feel advanced enough to represent an interstellar civilization, but retrograde enough for an economy where affordable health care is still the stuff of, well, science fiction.

A bald man (Vin Diesel) sits on a throne, dressed in elaborate metallic armor and surrounded by elaborate technology with no clear purpose in The Chronicles of Riddick

That means there are genuine narrative reasons for 65 ’s technology to blend futurism and retrofuturism in equal measure. It should come as no surprise to learn that production designer Kevin Ishioka has a strong background in science fiction. As the art director for films like Oblivion , James Cameron’s Avatar , and The Chronicles of Riddick , Ishioka has helped imagine on-screen futures that run the gamut from sleek to scruffy. In 65 , his team designs tools and equipment that blend the familiar and the unknown.

These little touches can be found everywhere. When Mills records an emergency message, the film combines a digital touchscreen with boxy buttons and a phone-sized mouthpiece. The resulting dashboard feels both futuristic and incredibly tactile. Driver’s performance incorporates the analog motion we might expect from a ’70s or ’80s film — an actor manipulating a physical prop — and combines it with a digital touchscreen and voice-over from the ship’s artificial intelligence. This blend of yesterday and tomorrow gives 65 a surprisingly timeless quality.

The best example is the portable scanner Mills uses to map his path across the valley. In shape and size, the scanner feels like a refugee from an early episode of Star Trek . In one sequence, Mills has to choose between holding his weapon and the scanner; he’s unable to juggle both. But once the device is turned on, the equipment becomes its own thing entirely. It has a physical screen — it’s visibly streaked with dirt the first time Mills turns it on — but it also has a holographic display and complex 3D environmental rendering. The latter is particularly imaginative. One of the movie’s best battles between humans and dinosaurs occurs almost entirely as a digital projection when Mills’ device clatters across a cave floor.

Adam Driver’s Mills holds up a 3D hologram of his ship while he navigates the prehistoric jungles of Earth in 65

Finally, there are production elements that belong to no period of science fiction whatsoever. While the screen of Mills’ slide projector sparks memories of low-budget ’80s hacker movies with its pixelated visual interface, the device itself mirrors the model of carousel slide projectors once found in every classroom in the country. The tiered glass cases in the dining hall — home to the scribbled communications between Mills and his accidental ward Koa (Ariana Greenblatt) about their journey to the mountains — evoke the automats once synonymous with 1900s New York City. These design choices project a vague sense of anachronism that only reinforces the uniqueness of the film.

Whether 65 is remembered as a quiet classic or just another streaming programmer, what it does with technology is remarkable. The movie effectively bridges the divide between past and present, ensuring that future audiences will recognize a version of their world in the movie. Since it isn’t currently lined up for a sequel or prequel anytime soon, I hope Hollywood looks beyond the box office and learns the right lessons from the production team. 65 is the blueprint for how to keep science fiction alive and vibrant, even in the rapidly changing world of special effects.

65 is streaming on Netflix now, and is also available for rental or purchase on Amazon , Vudu , and other digital platforms.

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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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Adam Driver’s underrated dinosaur movie gets a second life as it tops Netflix charts

65 is getting some well-deserved attention

Adam Driver’s space-meets-dinosaurs thriller 65 has been getting a lot of love on Netflix. The film, which was released earlier this year, is now top of the most-watched movies on US Netflix (per Flix Patrol ).

It follows Driver’s spaceship pilot Mills who crash lands on a planet after a routine mission goes wrong. He soon realizes he’s not alone as it turns out he landed on Earth 65 million years ago when dinosaurs ran the show. Along with the only other survivor, a young girl named Koa (Ariana Greenblatt), the pair must try and find a way to escape.

Upon release, the movie received some pretty mixed reviews from critics, landing at just 35% Rotten Tomatoes score. Despite a lot of praise for Driver’s lead performance, verdicts called it "underdeveloped", "boring", and "disappointing".

However, it seems viewers have wholeheartedly embraced the movie, proving much more positive in their reactions. Posting on Rotten Tomatoes, several have been sharing their thoughts that the film was underrated.

"I was enthralled from the get-go," writes one, "Took me back to the Jurassic Park days." Another added: "This is 90 minutes of great. Adam Driver's best acting role. Critics are off on this one." A third viewer is a bit more diplomatic, arguing: "If you’re giving this movie either 1 or 5 stars then I think you’re a bit off. It’s definitely somewhere safely in the middle. Fun, but simple concept for sure."

65 has overtaken Netflix original movies like The Outlaws, Nimona, and Extraction 2 in the top 10 most-watched movies in the US. So,, given its relatively quiet release in cinemas earlier this year, it’s great to see the film get a second lease of life on streaming. And really, there are certainly a lot worse ways to spend 90 minutes than watching Driver battling dinosaurs.

For more on the movie, we spoke to directors Scott Beck and Bryan Woods about how Driver helped them add "heart" to the movie and why its release date was delayed . We've also got the best Netflix movies and best Netflix shows to watch now.

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I’m the Deputy Entertainment Editor here at GamesRadar+, covering TV and film for the Total Film and SFX sections online. I previously worked as a Senior Showbiz Reporter and SEO TV reporter at Express Online for three years. I've also written for The Resident magazines and Amateur Photographer, before specializing in entertainment.

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Adam Driver’s ‘65’ Movie Is On Netflix And It Low-Key Rules

Where to stream:.

Adam Driver

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Attention lovers of big, dumb dinosaur movies: 65 is now streaming on Netflix , and it is the ultimate big, dumb dinosaur movie for a drunk Saturday night watch.

Listen, take away my Cinema Studies degree if you must, but I liked the big, dumb Adam Driver dinosaur movie, OK? It low-key rules. Here’s the premise: Adam Driver is an alien whose spaceship crash-lands on Earth… 65 million years ago. Maybe you saw that epic plot-twist trailer? If not, you likely didn’t know about the movie, thanks to its non-existent marketing campaign. Which is a shame, because, again, it rules.

The movie was written and directed by Scott Beck and Bryan Woods, aka the same duo who wrote A Quiet Place . But this time, rather than remain as silent as humanly possible, Adam Driver must defend himself—as well as the young alien girl (Ariana Greenblatt) who also survives the crash—by fighting the goddamn dinosaurs. And you better believe that includes the mighty T-Rex. It’s a chaotic, blatantly derivative combination of Jurassic Park , Alien , and Star Trek , and it’s exactly what I wanted it to be.

Is it reinventing any sci-fi, horror, or monster movie tropes? Nope! Not even a little bit! Rather than bend over backward trying to reinvent the wheel, it’s just pure, simple, straightforward fun. It’s like the Jurassic World movies if the Jurassic World movies dropped all the extraneous, over-stuffed plot nonsense. You’ve got your dino fights, you’ve got your pre-historic geysers, and you’ve even got a cameo appearance from that pesky meteor. It’s bound to delight the inner 5th-grade science nerd in you. Plus, this is the only dinosaur movie I’ve seen yet that posits dinosaurs are actually just really big cats. Honestly, groundbreaking.

Also? It’s a tight 95 minutes. It doesn’t get any better than that!

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Vague Visages

Movies, tv & music • independent film criticism • soundtrack guides • forming the future • est. 2014, know the cast & characters: ’65’.

65 Cast - Every Actor and Character in the 2023 Movie on Netflix

The 65 cast features Adam Driver, Ariana Greenblatt and Chloe Coleman. This info article contains minor spoilers and character details for Scott Beck and Bryan Woods’ 2023 movie on Netflix. Check out more streaming guides in Vague Visages’ Know the Cast section.

65 centers on an astronaut who crash lands on a mysterious planet. As Mills searches for a way back home, he looks after a young girl. The narrative follows the main protagonists as they bond through shared grief. Here’s every actor and character in 65 .

Read More at VV — Know the Cast & Characters: ‘The Out-Laws’

65 Cast: Adam Driver as Mills

65 Cast on Netflix - Adam Driver as Mills

Character Profile: An astronaut from a planet called Solaris. He gets struck by an asteroid belt during a two-year mission. Mills battles dinosaurs on prehistoric Earth.

Driver’s Resume: Adam Sackler in Girls (2012-17), Al Cody in Inside Llewyn Davis (2013), Paterson in Paterson (2016), Charlie Barber in Marriage Story (2019), Kylo Ren in the Star Wars Movie Franchise (2015-)

Read More at VV — Know the Cast & Characters: ‘Nimona’

65 Cast: Ariana Greenblatt as Koa

65 Cast on Netflix - Ariana Greenblatt as Koa

Character Profile: The survivor of a crash. She speaks Mis’Kat and hopes to reunite with her missing parents. Koa reminds Mills of his daughter.

Greenblatt’s Resume: Daphne Diaz in Stuck in the Middle (2016-18), Young Gamora in Avengers: Infinity War (2018), Minnow in Love and Monsters (2020), Young Nina in In the Heights (2021), Sasha in Barbie (2023)

Read More at VV — Know the Cast & Characters: ‘Run Rabbit Run’

65 Cast: Chloe Coleman as Nevine

65 Cast on Netflix - Chloe Coleman as Nevine

Character Profile: Mills’ daughter. She struggles with health issues. Nevine experiences a fateful encounter with a dinosaur.

Coleman’s Resume: Idit Ovadia in Transparent (2016), Skye Carlson in Big Little Lies (2017-19), Sophie in My Spy (2020), Nevaeh in Upload (2020), Emily in Gunpowder Milkshake (2021)

Read More at VV — Know the Cast & Characters: ‘Make Me Believe’

The 65 cast also includes:

Nika King as Nevine’s Mom

Q.V. Hough ( @QVHough ) is Vague Visages’ founding editor.

Categories: 2020s , Action , Adventure , Drama , Know the Cast

Tagged as: 65 , Action , Adventure , Bryan Woods , Drama , Q.V. Hough , Scott Beck

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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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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 .

Where to Watch

Videos and photos.

Community Reviews

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

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

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Adam Driver Movie ’65’ Coming to Netflix in July 2023

When the new Adam Driver dinosaur epic lands on Netflix.

65 – Picture: Sony Pictures Releasing

65 will be coming to Netflix in the United States as part of the big Sony Pictures first-window deal, but only after the movie has a long period exclusively in theaters. When will 65 be on Netflix, and will it be on Netflix in other regions? Here’s what we know.

Directed by Scott Beck and Bryan Woods, the new movie is headlined by Adam Driver and features Ariana Greenblatt, Chloe Coleman, and Nika King.

What can you expect from the sci-fi thriller featuring dinosaurs? Here’s the official rundown:

“After a catastrophic crash on an unknown planet, pilot Mills quickly discovers he’s actually stranded on Earth… 65 million years ago. Now, with only one chance at rescue, Mills and the only other survivor, Koa (Ariana Greenblatt), must make their way across an unknown terrain riddled with dangerous prehistoric creatures in an epic fight to survive.”

It’s been hard keeping up with the theatrical release date for 65 , given its been pushed back and forward so many times. In fact, Wikipedia lists six total date shifts. But its theatrical release date came on March 10th, 2023, with it grossing over $60 million at the box office .

When will 65 be on Netflix in the United States?

65 is headed to Netflix in the United States as part of the big first-window overall deal struck between the streamer and Sony in 2021. All movies from Sony have come to Netflix starting in 2022.

When we were predicting the release date, we noted that the earliest (120 days) we’d see the movie added was on July 8th, 2023

Now we’ve had official confirmation that the movie will land on Netflix US on July 8th.

Once Netflix does receive 65 , it’ll be available on Netflix for 18 months.

For an in-depth look into the full Sony lineup and when we’re expecting movies coming to Netflix, check out our guide. Expected to release on Netflix via the deal in 2023 includes I Wanna Dance With Somebody , A Man Called Otto, and Big George Foreman: The Miraculous Story of the Once and Future Heavyweight Champion of the World.

adam driver ariana greenblatt 65 netflix

Picture: Sony Pictures Releasing

Will 65 be on Netflix in other regions outside the United States?

Unlike the United States, Netflix doesn’t publicly promote deals with distributors like Sony outside the US. Therefore, we have relied on previous additions to determine whether 65 will be released where you live.

Netflix India was the first to receive the movie on June 10th, 2023, according to Unogs .

Netflix in Asian territories all seem to receive Sony movies just a few months after the United States. That includes Netflix the Philippines, Singapore, Malaysia, South Korea, and Thailand. This means you should get the movie in late 2023/early 2024. Netflix in the Netherlands has been receiving Sony movies in a similar pattern too.

Netflix Canada receives new Sony movies around 1-2 years after their theatrical release, and Netflix in the UK seems to get movies around the same time too.

Are you looking forward to 65 coming to Netflix? Let us know in the comments down below.

Founder of What's on Netflix, Kasey has been tracking the comings and goings of the Netflix library for over a decade. Covering everything from new movies, series and games from around the world, Kasey is in charge of covering breaking news, covering all the new additions now available on Netflix and what's coming next.

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IMAGES

65 (2023) (2023)
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65 DVD Release Date
65 DVD Release Date
’65’ Review: An Extraterrestrial Adam Driver Lands on Earth
65 (2023)

COMMENTS

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
Watch 65 with a subscription on Netflix, rent on Fandango at Home, Prime Video, Apple TV, or buy on Fandango at Home, Prime Video, Apple TV. 65 What to Know. Critics Consensus
'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 ...
Adam Driver '65' Netflix Streaming Movie Review: Stream It or Skip It?
65. Adam Driver headlines 65 (now on Netflix, in addition to streaming on VOD services like Amazon Prime Video ), a keep-it-simple-stupid B-movie in which he plays a marooned space traveler who ...
'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
Full Review | Original Score: C | Aug 9, 2023. Manuel São Bento InSession Film. 65 is as unimaginative and predictable as anticipated, only even less entertaining and far more bland. Adam Driver ...
65 Review
Verdict. 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 ...
65 review
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 ...
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.
65 review: a simple, bare-bones sci-fi thriller
The new movie 65 is a refreshingly unambitious sci-fi blockbuster. ... 5 sci-fi movies on Netflix you need to watch in April 2024 ... fun product reviews, ...
Every sci-fi movie should handle technology like 65 does
65 solves the tech problem Star Trek and Star Wars can't unravel. Every science fiction movie should handle technology and special effects this way. By Matt Monagle Jul 10, 2023, 11:45am EDT ...
'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 ...
Adam Driver's underrated dinosaur movie gets a second life as it tops
65 has overtaken Netflix original movies like The Outlaws, Nimona, and Extraction 2 in the top 10 most-watched movies in the US. So,, given its relatively quiet release in cinemas earlier this ...
'65': Everything to Know About Adam Driver's New Sci-Fi Dinosaur Thriller
65: Everything You Need to Know About Adam Driver's New Sci-Fi Dinosaur Movie - Netflix Tudum. After surviving a crash landing, an astronaut and his passenger must outlast the perils of prehistoric Earth to reach their only hope for escape.
'65' Review: A Decent But Formulaic Sci-Fi Action Thriller That
A satisfying stew of genre tropes and classic sci-fi and monster movie influences, "65" is a popcorn movie that isn't quite the intense thrill ride it gives the impression it wants to be, although it definitely has its moments. READ MORE: '65' Trailer: Adam Driver Transforms Into An Action Hero Fighting Dinosaurs In Sci-Fi Thriller From Sam Raimi
Adam Driver's '65' Movie Is On Netflix And It Low-Key Rules
The movie was written and directed by Scott Beck and Bryan Woods, aka the same duo who wrote A Quiet Place. But this time, rather than remain as silent as humanly possible, Adam Driver must defend ...
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 Cast: Every Actor and Character in the 2023 Movie
The 65 cast features Adam Driver, Ariana Greenblatt and Chloe Coleman. This info article contains minor spoilers and character details for Scott Beck and Bryan Woods' 2023 movie on Netflix. Check out more streaming guides in Vague Visages' Know the Cast section. 65 centers on an astronaut who crash lands on a mysterious planet.As Mills searches for a way back home, he looks after a young girl.
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 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.
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.
Watch 65
After surviving a crash landing, an astronaut and his passenger must outlast the perils of prehistoric Earth to reach their only hope for escape. Watch trailers & learn more.
Adam Driver Movie '65' Coming to Netflix in July 2023
65 is headed to Netflix in the United States as part of the big first-window overall deal struck between the streamer and Sony in 2021. All movies from Sony have come to Netflix starting in 2022. When we were predicting the release date, we noted that the earliest (120 days) we'd see the movie added was on July 8th, 2023.