Scott Beck and Bryan Woods are the writer and director of the movie 65. My recent experience led us into a lengthy discussion about an unexpected surprise from last year. With optimism for an improvement, our expectations were set high for “65.” Regrettably, it fell short of our hopes. Nonetheless, amidst the disappointment, there were a few bright spots worth acknowledging.
Foremost among these is Adam Driver’s outstanding performance. His consistent delivery of top-tier acting continues to impress, and he hasn’t shown any signs of faltering. While I haven’t been a fervent admirer of some of his previous works, such as “The Force Awakens,” which suffered from subsequent sequels, and “Marriage Story,” which isn’t typically in my wheelhouse, Driver’s undeniable talent shines brightly in “65.” He undeniably steals the show.
“Mixed CGI and Narrative Flaws in the Latest Sci-Fi Thriller”
Furthermore, the CGI utilized for the dinosaurs in the film deserves recognition for its impressiveness, even though it doesn’t quite reach the groundbreaking heights of the original Jurassic Park. Given the context of the film, the CGI work is commendable and adds a positive dimension to the viewing experience.
Nonetheless, the film’s numerous shortcomings regrettably eclipsed these positive aspects. The excitement, thrills, and all that we had eagerly anticipated mostly materialized in the third act, which was disappointingly largely revealed in the trailers.
The story centers around Adam Driver’s character, who finds himself in a frantic race on an unfamiliar planet inhabited by beings eerily similar to humans but armed with advanced technology.
The film commences with a poignant moment as Driver bids farewell to his family, embarking on a two-year mission to secure funds for his daughter’s medical treatment. However, this heartfelt beginning abruptly descends into chaos as his spaceship crash-lands on the alien planet. The critical issue here is the complete lack of context, backstory, or information about who these beings are, their purpose, or the organization the Driver works for. It’s as if the film chose to forgo all exposition and thrust the audience directly into the action, leaving us struggling to comprehend the narrative.
“Narrative Missteps and Pacing Issues: The Long Journey of ’65′”
Such a narrative approach typically suggests a fast-paced, action-packed movie, but “65” opts for a different path, subjecting the audience to an hour of exploration, communication obstacles, and minor encounters with smaller dinosaurs and unfamiliar plant life. The pacing feels sluggish, to say the least. Even someone like me, who avoids checking their phone during movies, couldn’t resist glancing at the time, convinced that an hour had passed when it felt more like two.
What’s more, the film fails to establish any substantial conflicts or challenges for the characters beyond the language barrier. It reduces the narrative to a straightforward journey from point A to B, with the characters primarily engaged in walking and talking for a drawn-out 90 minutes. “65” makes an attempt to evoke emotions akin to those found in “The Last of Us,” with Driver’s character protecting a young girl in a surrogate father-daughter dynamic.
However, it falls far short of capturing the emotional depth, charm, and thematic richness of its source of inspiration. Additionally, it lacks the gripping action and horror elements that could have compensated for its shortcomings.
“Lost in Translation: The Crucial Barrier that Hampers ’65′”
The primary reason for this disappointment lies in the insurmountable language barrier between the two protagonists, which prevents any genuine connection or emotional resonance from developing. Their interactions come across as contrived and fail to forge the essential emotional bond. Even when a looming threat forces them to expedite their journey, the film’s pace remains steadfast, sustaining a lackadaisical pace toward an ultimately underwhelming climax.
In essence, “65” emerges as a film that tantalizes with the promise of excitement but ultimately delivers a plodding and unsatisfying narrative. Adam Driver’s promising performance and impressive CGI are marred by a lack of context, the burdensome language barrier, and an inability to capitalize on its potential for tension and thrills.
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