65 Review

Theatrical Review

One of the tests for a great actor is to star in a film where they are alone for the bulk of the film. Sam Rockwell did it in “Moon,” Leonardo DiCaprio did it in “The Revenant,” and probably most famously, Tom Hanks did it in “Castaway.” These roles are generally meant to showcase an actor’s range and to allow them an opportunity to bring an incredible amount of depth to a character. I have to assume that was how directors Scott Beck and Bryan Woods pitched “65” to Adam Driver. 

Mills (Adam Driver) is heading on a two year space mission, leaving behind his daughter Nevine (Chloe Coleman) and his wife (Nika King). He’s taking this job because Nevine is sick and they offered him triple his salary for this job, which will allow him to pay for the treatments that his daughter needs to survive.

But when Mills encounters an uncharted meteor storm, his ship is wrecked on an unknown planet filled with hungry, vicious monsters. Only he and Koa (Ariana Greenblatt) survived the crash, and now they must travel across this dangerous landscape to reach the escape pod so they can get back home to the people they love.

On its face, this is an interesting story. But it is told in the least interesting way possible. 

I tried to avoid spoilers in this summary, but I am here to tell you that the marketing for this movie and the movie itself will not be as considerate. The trailers gave away about seventy-five percent of the plot, and the movie itself gives up all remaining secrets well before they would have any emotional impact on the viewer. 

The performances in this are mediocre at best. And that is saying something, because Adam Driver is an absolute beast on screen. As I was watching this movie, I kept waiting for him to do something that would allow me to write something positive about what was clearly a trainwreck of a film, but no. It is a generic action movie with bland action acting. 

There is no real development of any character in this. Part of development is hampered by a language barrier between Koa and Mills, but that can be overcome with story beats that actually allow the characters human moments. Every moment of connection forged between these two felt forced and inorganic, more like “we expect this to happen so it does”,  rather than actually springing from the story.

It’s rare for me to find nothing redeemable about a movie. Even movies that I don’t like usually have something that stands out as notable to me. A bit of meaningful dialogue, a moment of acting that feels true and connects deeply, some kind of digital wizardry that brings the fantastical to reality. This movie doesn’t have any of that. It is flat, poorly paced, with mediocre visual effects and phoned in performances. I guess if I’m forced to find a positive, it’s just 95 minutes long, but honestly, it felt like the full 65 million years.

This review originally appeared in The Dominion Post on March 12, 2023.