It’s nearly impossible to sit and watch a sci-fi thriller at lap 65 without being bothered by the familiar immersion, like like you’re about to eat a meal that you know won’t fit your system. Despite the compelling presence of Adam Driver, whose post-Star Wars roles often prioritize art over commercial, and the magnetic gonzo premise sees a pilot land on Earth. prehistoric land, he arrives with baggage heavy enough to flatten all hope. Thrilling compelling trailers may have inspired.
Not only did the film, which was shot two years ago, missed its previous five release dates, it also landed at the last minute with no major promotional campaigns (until last month was officially scheduled). ) and almost no screenings for critics (I only attended one in New York, which took place a few hours before its release). Inevitably, this then lowers even the most optimistic expectations of the optimists on the ground, a cursed story for something that seems so gruesome that Sony studios would rather bury it rather than watch it. But as often happens with such intros, it’s a bit more mediocre than terrible, wasteful but not too embarrassing.
Maybe if it was really terrible to tell people on Twitter maybe it would at least be remembered by the time it landed quickly on the plane but 65 rotated between good and a little less, never quite as fun as we’d hoped,
Unusually for a film of this genre, it begins in much more fragile territory than where it ends. Driver pilot Mills said goodbye to his ailing wife and daughter (mild cough) before setting off on a two-year mission. Filmed at the start of Covid, we rush through the stage to avoid anything that could make it logistically difficult for what is essentially two-handed operation, an understandable sacrifice. timed but the frenzied pace continued as it landed on a mysterious planet, sprinting us through what should have been a more efficient build-up. The first act with a sense of something caused the sleepless nights in ‘s montage sequel, mixed with hasty, short, jerky scenes that end before they should, yielding give it an entertaining and rhythmic quality (criminally, the discovery that the planet contains dinosaurs (! ) is indeed grotesque).After Mills finds another survivor (a brilliant, quiet Ariana Greenblatt), the pair must make their way through treacherous terrain to reach an escape cocoon.
It’s a pretty straightforward survival movie from there, but effective in the shortest possible time, thanks to a physically engaged pilot who takes things pretty seriously and some pretty good dangerous moments. We were teased for something more creepy, something that could have taken it further than the Jurassic Park family franchise beyond quality and budget, but it’s all a bit too much tight to be an extremely silly B-movie. could and should have been. In a surprisingly comedic scene, Greenblatt’s cute kid saves a friendly dinosaur before it’s quickly ripped apart by the others, but it’s intentionally naughty – otherwise we’d be hooked. stuck in
with an impromptu family drama stuck between spooky scenes that are barely scary. Instead of creating real suspense, as screenwriters Scott Beck and Bryan Woods did in their breakout screenplay for A Quiet Place, as writer-director here, they rely into an overdose of boring creepy jumps, most of which cause yawns rather than tremors.In the slightly more involved final act, Beck and Woods lean more toward the awkwardness of their premise, as danger literally begins to fall from the sky, but it’s too little, too late. .
It’s not quite the toxic disaster it’s dealing with, but 65 isn’t near the level of giddy it should be, rather, it falls somewhere in between.
