65

The main character, a pilot named Mills (Adam Driver), along with his wife Alia (Nika King) and little daughter Naveen (Chloe Coleman), lives on the Earth—like planet Somaris, located many light—years away from our galaxy. Hoping to earn some money for the treatment of Naveen, who is slowly dying of some unknown disease, Mills decides to lead a space expedition designed for two years. While the rest of the crew is in hypersleep, the ship under Mills' control crashes on a prehistoric Earth teeming with dinosaurs and other frightening creatures of the Paleozoic era. As a result of the accident, only Mills himself and a small passenger, Koa (Ariana Greenblatt), survive — now they are forced to work as a team.

The project called "65" has been teasing viewers with an aura of secrecy for three years — all that was known about the plot of the film by Scott Beck and Brian Woods (who acted as both screenwriters and directors here) was that it was Sci-Fi, and the main role was assigned to Adam Driver. As is often the case in real life, along the way it turned out that only a dummy was hiding behind a demonstratively mysterious way, actively striving to seem like a big and important film. The lack of an adequate promotional campaign for "65" is nothing more than a manipulative marketing ploy that seeks to arouse at least primitive curiosity in the audience. However, most of the potential audience of the film fell off at the stage of the trailer, when it became clear that neither the charisma nor the skillful combat skills of Adam Driver — for a second, a former US Army Marine — would be able to take out the mediocrity and secondary staging of Beck and Woods.

The main problem of "65", of course, is not in Adam Driver or even in his small screen partner Arina Greenblatt. The problem is that they have nothing banal to play in this film — according to the plot, the pilot and the passenger do not know each other's language and communicate mainly using non-verbal signs and interjections. The same approach could be found in another Beck and Woods project — the fantastic horror "A Quiet Place" — but there the lack of adequate communication between the characters was saved by the strong direction of John Krasinski, who masterfully pumped suspense and an atmosphere of deadly horror into the frame. In terms of staging, "65" is more like a documentary from the Discovery Channel — Mills and Koa mindlessly travel around a frighteningly boring prehistoric planet (don't even expect to see the fascinating views of Yucatan Island here), shoot back at surprisingly faceless dinosaurs, periodically creating the appearance of some kind of dynamics.

Adam Driver is diligently trying to fit into the role of Pedro Pascal, acting as the main defender and loving adult not for one, but for two little girls at once. However, the general poverty of the picture combined with the obvious unwillingness of the script authors to build at least the slightest emotional contact devalues any efforts of the actor. In such circumstances, you worry more about the reputation of the Driver than for his hero — after all, Mills will sooner or later fly to his distant galaxy, and Adam needs to somehow continue living in a world where not only Skywalker exists. Sunrise", but also "65"