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‘65’ is a science fiction about a pilot and a little girl, who find themselves stranded on Earth. Now, they must do whatever it takes to survive in this unknown terrain that is infested with bloodthirsty prehistoric creatures and a fast approaching asteroid

65 Movie Review: An underwhelming survival saga that tries hard to be Jurassic Park

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65 – Official Trailer

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65 - Dialogue Promo (Hindi)

65 - Dialogue Promo (Tamil)

65 - Dialogue Promo (Telugu)

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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

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Nika King as Alya

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65 movie review: Adam Driver film lacks imagination, wonder

65 movie review: for creatures who lived 65 million years ago, dinosaurs occupy a huge and pretty regular space in our lives since the first jurassic park came out..

This film is so half-hearted about itself that it even stops its title at the very unimaginative ’65’. Not ‘Before the Advent of Mankind’ (as its starting sequence proclaims). Not ‘Planet Somaris’ (from which sets off this ET story). Not ’65 Million Years Ago’ (which is where the 65 comes from). And finally not even ‘Here the Dinosaurs Come Again’ (which is what it is actually about).

This lack of imagination extends to the rest of the film, which is written and directed by Scott Beck and Bryan Woods (the pair who wrote A Quiet Place).

For creatures who lived 65 million years ago, dinosaurs occupy a huge and pretty regular space in our lives since the first Jurassic Park came out. A sequel even appeared and sank just last year.

So how to do the dinosaur differently? Beck and Woods inverse the story in the film’s one original idea. Around the Jurassic era, when humans were of course not around on the Earth, there were other civilisations in distant planets exploring space. Planet Somaris being among them, from where Mills (Driver) sets off piloting an exploration which is meant to last two years. More than an adventure, he is looking to earn enough money to save his young daughter (Coleman) from a mysterious illness.

Before you can settle into the comforting or perhaps discomfiting thought that money makes not just our world go around, Mills has taken off, run into an unexpected meteor shower and landed on Earth. And into the path of some perpetually angry dinosaurs.

Only one passenger, preserved in cryostasis condition, survives the crash apart from Mills, and that’s a nine-year-old girl called Kao (Greenblatt). While Mills’s part of Planet Somaris seems to have effortlessly glided into English with an impeccable American accent, Kao speaks a language he can’t comprehend.

But, never mind. Few interactions are required when the plot needs you mostly to escape one dinosaur after another, while armed with the latest gadgets that Earthlings of today would admire. Apart from those creatures, Mills and Kao must encounter whatever an inhospitable Earth can throw their way: from leeches to falling stones to quicksands to insects that enter throats and reside there.

That said, Driver climbs out of his cynical, cold-ish self to take it all very seriously. Even condescending to let Kao pin a flower to his hair, as she sure enough slips into the role of the daughter that Mills desperately misses. Greenblatt is more of a natural, showing her vulnerabilities, exasperations, fear and later sorrow.

Given that we are familiar with both our dear old Earth, and its well-told dinosaur stories, it’s the interaction between the two that could have set 65 apart. Not many films involve a man and a girl (the tall, lean Driver magnifies the difference) fighting the odds. However, 65 rushes into another danger just when the two come close to having a moment.

For how to retrieve this story from becoming the bore it is, the filmmakers need not have looked further than that master crafter of both dinosaurs and extraterrestrials, Steven Spielberg himself.

He would have advised the filmmakers to look through the eyes of a child, and trust that one feeling which is absolutely missing in this story: wonder.

65 movie director: Scott Beck, Bryan Woods 65 movie cast : Adam Driver, Ariana Greenblatt, Chloe Coleman 65 movie rating : 2 stars

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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
• 915 User reviews
• 174 Critic reviews
• 40 Metascore
• 1 nomination

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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 first part of the closing credits displays the aftermath of Earth after it was struck by the meteorite, eventually leading to a city being built in modern human civilization.
• Connections Featured in AniMat's Crazy Cartoon Cast: Part of Halle's World (2022)

User reviews 915

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• Apr 26, 2023
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• March 10, 2023 (United States)
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• $45,000,000 (estimated)
• $32,062,904
• $12,328,361
• Mar 12, 2023
• $60,730,568

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• Runtime 1 hour 33 minutes
• Dolby Digital
• Dolby Atmos

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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

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Adam Driver shoots a bunch of dinosaurs like any good father would.

Remember 2011’s Cowboys & Aliens ? 65 is a movie that dares to take that same simple idea of a kid smashing two of his favorite toys together and give us Space Dad & Dinosaurs, a breezy sci-fi survival mission that delivers what's on the tin and little more. Writers and directors Scott Beck and Bryan Woods – who wrote the much fiercer invasion stunner A Quiet Place and pulled double duty on the gruesome yet underwhelming Halloween horror movie Haunt – emphasize ferocious special effects, a fast tempo, and adventurous tension. It’s a straightforward story of a man protecting a child that will someday fit well into syndicated Father's Day marathons on channels like TBS or TNT. Don't expect the next Jurassic Park or even Jurassic World . 65 pleases the most basic expectations, and that's good enough for the entertaining concept to survive for 90 minutes.

Beck and Woods favorably draw from ‘80s and ‘90s action movies centered around a hero whose family-driven motivations are more compelling than another cardboard action-hero cutout trying to beat a body count record. Adam Driver's space pilot Mills survives a white-knuckle crash landing filled with asteroid damage that drops him on Earth 65 million years ago, and it’s not long before dinosaurs start trying to take bites out of the stranded visitor. Adding Ariana Greenblatt's young survivor, Koa — who speaks a different language — creates a fatherhood instinct that drives Mills. Thanks to her, Driver gets to do more than shoot energy bullets at animated dinosaurs, which suits his flair for expressive facial reactions and outbursts. Koa needs Mills' tactical skills, Mills needs Koa's daughter representation, and 65 needs their parent-child dynamic to elevate even a single notch above point-and-shoot generics.

That father-daughter relationship acts like tossing some Hallmark warmth into a prehistoric episode of Survivor (...with futuristic tools [scratches head]). Driver's commitment as an overprotective caretaker shines, while Greenblatt's playful scamp can be a delight. The communication barrier between the two might not add much to the story, nor does their emotional journey go anywhere special, but Driver and Greenblatt mold a sweet relationship together that make it easy to root for Mills and Koa as they overcome separate familial subplots. It’s something like After Earth, but far better.

Visual effects supervisor Chris Harvey led efforts to present lifelike digital dinosaurs and gets plenty of credit for 65's success in that arena. Nothing here will beat the Tyrannosaurus rex or raptor animatronics from the original Jurassic Park (perhaps nothing ever will), but 65 delivers creatures big and small that appear pretty darn polished and worthy of a reported $90 million budget. Harvey's dinos favor menacing reptilian attributes like massive predators running on all fours, like a blend between a T-Rex and Komodo dragon — they're somehow more unsettling by resembling animals we see everyday. Driver and Greenblatt's chemistry when threatened by them sells everything from cautious wonder to fear-stricken danger, especially with some choice cinematography, like when a rainstorm lightning bolt reveals a massive T-rex-type outline behind our worried leads.

What's the best dinosaur movie WITHOUT "Jurassic" in the title?

65 isn’t a non-stop creature feature, though. Beck and Woods balance less-frequent dinosaur attacks with natural obstacles like cave-ins and quicksand, showing an environment where death is one wrong step away. Driver brings intensity, whether challenging razor-clawed predators or exhaustively chipping away at rocks to clear claustrophobic escape tunnels from dank caverns. 65 embraces the wildness of wilderness excursions, and while suspense might subside when dinos vanish for longer stretches of time, there's never too long to wait before Mills and Koa have to defend against another snarling adversary.

What 65 lacks is any ambition toward grander world-building. Beck and Woods' screenplay gives us a glimpse of an advanced cosmic race of humans that arose long before our own, complete with solve-all gadgets that can be too convenient for their own good and interstellar travel. Mills and Koa’s backstories are completely unexplored because 65 is dedicated to being a movie about fleeing from gaping dinosaur jaws and a quest to locate a lost escape pod – but the microscopic focus feels slight and unfulfilling given the setup. Mills' never-quite-emptied blaster (the fact that it recharges itself undermines a fair amount of survival tension) and their holographic GPS tracker are neat devices, but they beg for expanded lore about the people who built them.

65 Movie Photos

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 fearsome, great-looking dinosaurs. Writers and directors Scott Beck and Bryan Woods don't overcomplicate 65 beyond acting on primal instincts, and while that leads to sci-fi storytelling that leaves so much unanswered intrigue on the table, they deliver respectable humans vs. beasts entertainment. 65 has a few oddly cruel moments that hit out of nowhere, which can throw off balance in a way that feels like a family-friendly The Land Before Time movie colliding with the feeding scene in Jurassic World, but it's also a competent 90-minute gauntlet where survivors race against time and extinct foes.

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2023, Sci-fi/Adventure, 1h 33m

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Critics Consensus

Sodden sci-fi that somehow finds a way to bungle Adam Driver fighting dinosaurs, 65 is closer to zero. Read critic reviews

Audience Says

Although it's silly, predictable, and sort of slow, 65 's missed opportunities are mostly balanced out by solid survival thriller action. Read audience reviews

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65   photos.

After a catastrophic crash on an unknown planet, pilot Mills (Adam Driver) 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.

Rating: PG-13 (Intense Sci-Fi Action|Brief Bloody Images|Peril)

Genre: Sci-fi, Adventure, Action, Mystery & thriller

Original Language: English

Director: Scott Beck , Bryan Woods

Producer: Sam Raimi , Deborah Liebling , Zainab Azizi , Scott Beck , Bryan Woods

Writer: Scott Beck , Bryan Woods

Release Date (Theaters): Mar 10, 2023  wide

Release Date (Streaming): Apr 7, 2023

Box Office (Gross USA): $31.5M

Runtime: 1h 33m

Distributor: Columbia Pictures

Production Co: Raimi Productions, Beck Woods, Columbia Pictures, BRON Creative, Sony Pictures Entertainment (SPE)

Sound Mix: Dolby Digital

Aspect Ratio: Digital 2.39:1

Cast & Crew

Adam Driver

Ariana Greenblatt

Chloe Coleman

Bryan Woods

Screenwriter

Deborah Liebling

Zainab Azizi

Maryann Brandon

Executive Producer

Douglas C. Merrifield

Jason Cloth

Aaron L. Gilbert

Salvatore Totino

Cinematographer

Josh Schaeffer

Film Editing

Chris Bacon

Original Music

Kevin Ishioka

Production Design

David Storm

Art Director

Michael Kaplan

Costume Design

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Home » Reviews » Hollywood Movie Reviews

65 Movie Review: Someone Thought Adam Driver Fighting Dinosaurs Would Look Cool & Never Developed The Idea Beyond That

65 never bothers to start parallel stories, it is more invested in speeding up and telling a tale that is predictable.

Star Cast: Adam Driver, Ariana Greenblatt, Chloe Coleman, and Nika King.

Director: Scott Beck and Bryan Woods.

What’s Good: Adam Driver driving his way through space and falling on Earth only to be as clueless as we are. The actor is too convinced.

What’s Bad: Well, the path that is too short and bumpy in all the wrong ways which affects his driving. Why do these dinosaurs look nothing like real dinosaurs, even with all the technology?

Loo Break: There are a few jump scares where nature might knock. You can take one before the climax starts unfolding because there are some good visuals there.

Watch or Not?: You won’t miss anything if you wait for this to land on your OTT ground.

Language: English (with subtitles).

Available On: Theatres Near You!

Runtime: 94 Minutes.

Mills (Adam Driver), a space driver, takes a 2-year job to export people in cryostasis to another planet. After bumping into an asteroid storm, his spaceship falls on Earth in 65 Million A.D. Populated by a variety of dinosaurs; he is stranded on a planet with a survivor Koa (Ariana Greenblatt).

65 Movie Review: Script Analysis

The world of cinema had a technical reset moment when Steven Spielberg showed us that even dinosaurs with a story given to them could be brought alive on the big screen. His Jurassic Park series, followed by Jurassic World movies, have set and become benchmark of dinosaur content across the globe. Somebody now decided to bring in Adam Driver and make him fight the giant Lizard only to  grill one in the end like it’s easy has made the Spielberg fan in us cringe.

Written by the duo Scott Beck and Bryan Woods, 65 is an idea that gives room for multiple possibilities and numerous storylines. It takes us 65 Million years back on Earth when two people from a very advanced planet fell from the sky, and are stranded between the dinosaurs in the Cretaceous period. This could venture into the complexities of space and time and the landscape, or how the man has now no means but to develop something on this new planet, or how he forms a bond with this young partner as they are fighting to survive.

But 65 never bothers to start those parallel stories. It is more invested in speeding up to tell a tale that is predictable. It all makes you wait for a twist that might make this film unique. Unfortunately, it never does. Dinosaurs keep attacking, weird looking insects make all the attempts to bite, and the lead characters are running from point A to B, saving themselves with the most predictable trajectories. Whatever you see on the screen isn’t bad or unbearable, but nothing is like something you have never seen before. It is tried and tested formula, and to add more dismay, the makers don’t even use the characters to raise human conflicts in this wilderness.

There is a father of a dead teen daughter, a girl clueless that her parents died in the same crash that she survived; there is so much to explore when two people with tragic pasts come together. But the movie chooses to speed up so fast that it is least bothered about any catharsis. The short runtime kills it even more.

65 Movie Review: Star Performance

Adam Driver’s conviction in 65 is worth mentioning. The actor is convinced that he is out there to kick-start a franchise, so he acts well and becomes the best part of the movie. He is clueless, and so are we. You deserve better, Adam.

Ariana Greenblatt is a very natural performer because she doesn’t even have dialogues, but she makes us feel her pain of losing her parents even in this loosely written screenplay, and that is worth appreciating. The actor can do wonders if given a more lucrative and indulging character.

65 Movie Review: Direction, Music

The idea of hiding the giant monster and only revealing bits and pieces of it to surprise the audience by unraveling the majestic beast in the end only works if there is enough time involved in first setting up the beast and second at least giving him an entire sequence with full visibility with the protagonist. 65 does neither, and the majestic beast ends up being just another animal and not the mighty dinosaur who could end Adam’s life in a small size bite. Directors Scott Beck and Bryan Woods do no good to redeem their product that has dulled in the first 30 minutes.

Why do the dinosaurs look like they were designed for a fantasy show? Barring the giant beast, all the other dinosaurs never look real. Steven Spielberg made some in the last century and they made us dread them even when we knew they weren’t real. If technology can’t even ace half of his brilliance decades later, what exactly is the use of all that budget?

Christopher Nolan has done a brilliant job at explaining the world how space is a vacuum and sound cannot travel through it. Remember how Interstellar went all silent when the scene shifted outside the spaceship? 65, which is marketed as Sci-fi, forgets that very detail, and we hear the sound of a moving spaceship in a top-angle shot in the space. The audience is becoming more competent, you guys.

The music is average and even more than required in some places.

65 Movie Review: The Last Word

Adam Driver tries to make so much sense of a movie with enough to be a strong franchise but decides to rush with a predictable story without trying to branch out. Adam deserves better. We deserve better!

65 releases on 17 March, 2023.

Share with us your experience of watching 65.

For more recommendations, check out our Puss In Boots: The Last Wish Movie Review here.

Must Read: Ant-Man And The Wasp: Quantumania Movie Review: Dead Iron Man Would’ve Snapped Again, This Time To Thanos’ Help, After Seeing This!

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65 (United States, 2023)

If all you’re looking for out of a movie is Adam Driver running around in a jungle shooting dinosaurs while protecting a young girl, 65 delivers in spades. If you’re hoping for something more complex, either in terms of character development, background narrative, or world-building, the movie has neither the time nor the patience to accommodate. The dino special effects are adequate for the job (better than in 1993’s Jurassic Park but inferior to those in the third installment of the Jurassic World series ) and Driver appears committed to the work. The running length is a svelte 93 minutes, meaning that 65 isn’t around long enough to wear out its welcome. By keeping its goals limited, it’s able to deliver what it promises, and that stands for something. I’ll admit I was more entertained by this high-concept sci-fi adventure than half the films I have seen thus far in 2023.

In their directorial debut, Scott Beck & Bryan Woods (the writers of A Quiet Place ) keep it simple. The plot could be the template for a video game: get the hero from Point A to Point B without dying. Along the way, there are various impediments that have to be overcome: rockslides, steam geysers, quicksand, and (of) course dinosaurs. 65 mixes in an Aliens - inspired subplot about a lone, grieving adult “adopting” and orphaned young girl. At no point, however, does Adam Driver say to any of the dinosaurs, “Get away from her, you bitch !”

One could argue that 65 is real throw-back – all the way back to the 1920s and 1930s, when monster movies could enthrall and amaze. The first two-thirds of King Kong , after all, focused on explorers wandering around a prehistoric jungle and encountering dinosaurs. 65 has all the advantages of modern technology but it’s not significantly more sophisticated than the movies of Willis O’Brien. This is the kind of production that provides a couple of memorable moments (the T-Rex “reveal,” which is spoiled by the trailers, being the most notable) but somehow seems smaller than it should. Maybe that’s because we have been trained to expect that a menagerie like this is appropriate only for epics while the most lofty goal 65 can claim is being a slickly-made B movie.

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