---
title: "65"
year: 2023
kind: "film"
canonical: "https://film.one/film/65"
fi1m_id: "65"
imdb_id: "tt12261776"
tmdb_id: 700391
wikidata_id: "Q104187039"
fi1m_score: 47
critics_score: 48
critics_reviews: 16
published: "2026-09-10"
updated: "2026-09-18T08:38:09.334756+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# 65 (2023)

Directed by Bryan Woods, Scott Beck · 1h 32m · MPA PG-13 · Action, Adventure, Science Fiction

## Identity

65

- **Canonical:** https://film.one/film/65
- **Type:** Film
- **Fi1m ID:** 65
- **IMDb ID:** tt12261776
- **TMDB ID:** 700391
- **Wikidata ID:** Q104187039
- **Same entity:** https://www.imdb.com/title/tt12261776/, https://www.themoviedb.org/movie/700391, https://www.wikidata.org/wiki/Q104187039

**Fi1m score: 47** · Critics 48 from 16 reviews

*In a sentence:* Adam Driver, an energy rifle and a planet full of dinosaurs, and the film’s main concern is whether he is sad enough

> Beck and Woods hand Adam Driver a rifle and a prehistoric forest and then ask him to grieve in it for ninety minutes. The dinosaurs are decent when they turn up; the film in between them is glum, thin and short of ideas.

## Synopsis

Mills (Adam Driver) is a pilot from a distant planet, partway through a long transport run when his ship strikes a field of debris and breaks apart. He crash-lands on an unfamiliar world that turns out to be Earth, 65 million years ago, shortly before the asteroid that will end the age of the dinosaurs. The only other survivor is Koa (Ariana Greenblatt), a young girl who speaks a different language. With the escape craft lying in the other half of the wreck, some distance away on higher ground, the two must cross a prehistoric forest together, avoiding what lives in it. Scott Beck and Bryan Woods write and direct; the film runs 92 minutes.

## Review

Mills (Adam Driver) is a pilot from a planet that is not ours, partway through a long-haul run when his ship hits a field of rock and comes apart. He wakes in a forest he does not recognise, which the title has already told us is Earth, 65 million years ago, with the asteroid on its way. The only other survivor is Koa (Ariana Greenblatt), a child who does not speak his language. What follows is the two of them walking to the half of the ship that landed on a mountain, with dinosaurs in between. Scott Beck and Bryan Woods wrote and directed it, it runs 92 minutes, and it is a perfectly good idea for a Saturday night that has been made as though it were about grief.

Driver takes it seriously, which is the film’s best asset and, in the end, part of its trouble. He plays Mills as a tired, careful man who talks to himself because there is nobody else, and when he shouts at a dinosaur he shouts as if he means it. Greenblatt is handed a language nobody in the audience speaks and finds a way to be funny in it, mostly by looking at Driver as if he were the strange one. The two of them working out a word or two with drawings in the dirt is the closest the film comes to a scene rather than a set piece.

The dinosaurs are decent, and better in the dark. Salvatore Totino lights the forest as a grey-green murk with torch beams cutting across it, and the best sequence has Mills and Koa in a cave with something large breathing at the far end of it. There the film holds a shot, lets the sound do the work and earns a proper jolt. Kevin Ishioka’s ship is a good piece of design too: a long cracked shell of pale panels half-buried in mud, more like a stranded whale than a rocket. Michael Kaplan puts Driver in a grey flight suit that gets browner as the film goes on, which is about the only thing in it that changes.

The trouble is everything between the scares. Beck and Woods have one beat and they play it every ten minutes: a rustle, a pause, a creature, a rifle, a run, a quiet moment about the daughter Mills left at home. Jane Tones and Josh Schaeffer cut each of these to the same length and the same rhythm, and Chris Bacon’s score tells us each time that it is sad, then that it is frightening, then that it is sad again. We were bored by the forty-minute mark, and then annoyed at being bored, because a man with an energy rifle on a planet full of dinosaurs is not a hard thing to keep interesting. The film keeps stopping to be solemn, and it has not written anything solemn enough to justify the stops.

Beck and Woods wrote *A Quiet Place* (2018), which took a single rule and built a whole tense film on it. Here the rule is looser, the world is thinner, and the daylight sequences show how little of the planet has been imagined beyond the next stand of trees. Sam Raimi is a producer, and his name promises a rougher, funnier film than this one. The B-pictures *65* descends from knew that when the premise is a man against the Cretaceous, the correct tone is glee. This one thinks it is a bereavement drama with teeth.

Most critics have landed about where we have, unmoved but not offended, and we do not think they are wrong. The 12A is fairly earned; the cave will frighten a ten-year-old and nothing here will scar one. See it if a lean creature feature is the evening you want and you can forgive it for not enjoying itself. It is over quickly, and that is the kindest thing we can say about it.

*Fi1m score 47, published 10 September 2026.*

## What the critics say

The reviews lean negative, with fewer than a quarter of critics prepared to recommend it and most landing somewhere between indifference and irritation. Where they agree is on Adam Driver, whose committed lead performance is singled out by admirers and detractors alike as better than the material around him. The dinosaurs earn a second, smaller cluster of praise: several critics find the creature design frightening and the set pieces, particularly the finale, effective.

The chief complaint is tone. Many critics feel the film refuses to embrace the silliness of its premise, weighing a stranded pilot and a child down with grief when it should be running from things with teeth. Others call it derivative, cobbled together from better survival pictures. The spread is wide: Empire and Screen Daily find it an efficient, entertaining thriller, while the Los Angeles Times calls it dull and imitative, and The Telegraph thinks the dinosaurs themselves are given short shrift.

## Straight answers

**Is 65 worth watching?**

*65* is worth watching only if a lean creature feature is exactly the evening you want, and we scored it 47. Adam Driver takes it seriously and the dinosaurs are decent when they appear, but Beck and Woods keep stopping to be solemn about a grief the script has not earned. It is over quickly, which counts in its favour.

**How long is 65, and what is it rated?**

*65* runs 1h 32m and is rated PG-13 by the MPA in the US. It is an action and adventure film.

**Where can I watch 65 in the US?**

*65* is streaming on Hulu, Amazon Prime Video and Disney+ in the US, and it is also available to rent from Amazon Prime Video from $3.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is 65, and is it suitable for children?**

*65* is a UK 12A, and we think the certificate is fairly earned: a cave sequence with something large breathing in the dark will frighten a ten-year-old, and nothing here will scar one. The violence is a man with an energy rifle against dinosaurs, played straight rather than gory, so most children over ten and the mildly squeamish should manage it.

**How does 65 compare to A Quiet Place?**

*65* comes from the writers of [*A Quiet Place*](https://film.one/film/a-quiet-place), and the earlier film is the better of the two by a clear margin. *A Quiet Place* takes one strict rule and builds a tense film on it; *65* has a looser premise, a thinner world and repeats the same beat every ten minutes. Anyone choosing between them should pick the family thriller.

**What should I watch after 65?**

After *65*, try [*A Quiet Place*](https://film.one/film/a-quiet-place) (2018, Fi1m 82): The same writers with a stricter rule and a great deal more nerve. Then [*Prey*](https://film.one/film/prey) (2022, Fi1m 76): A lean hunt in the wilderness that trusts its lead and its landscape.

### Reviews we read (18)

- **Empire**, John Nugent (70/100, inferred): The film is a straightforward, efficient survival thriller that delivers a lean, original studio premise without breaking new ground or relying on franchises. It stands out for its compelling Adam Driver performance, which grounds the B-movie silliness, and its fun, frightening dinosaurs in a handsomely presented package. [Read](https://www.empireonline.com/movies/reviews/65-movie/)
- **Screen Daily** (70/100, inferred): Adam Driver gives a committed performance in this efficient, sprightly popcorn thriller mixing dinosaurs, space travel and a father-daughter story. Terrific CGI monsters and swampy scares make it an entertaining multiplex movie. [Read](https://www.screendaily.com/reviews/65-review/5180054.article)
- **Little White Lies**, Hannah Strong (2/3/2): The critic finds the film a dire and derivative sci-fi action flop with shoddy execution and lazy world-building. Adam Driver's committed lead performance is singled out as better than the material deserves. [Read](https://lwlies.com/reviews/65)
- **Variety**, Todd Gilchrist (60/100, inferred): Though derivative and cobbled from better films, the adventure delivers requisite thrills thanks to Driver's committed performance and menacing dinosaurs, feeling pleasantly diverting in its brevity despite lacking originality. [Read](https://variety.com/2023/film/reviews/65-review-adam-driver-scott-beck-bryan-woods-1235548659/)
- **The AV Club**, Manuel Betancourt (C): The critic finds the film self-serious and exhausting despite its premise. He singles out the predictable action set pieces and lack of surprises as the main complaint. [Read](https://www.avclub.com/65-review-adam-driver-fights-off-dinosaurs-1850209872)
- **The Guardian** (55/100, inferred): The critic finds the film a ho-hum, unremarkable survival movie that is not as bad as its troubled release history suggested but ultimately misses the mark. It is efficiently made in places thanks to Adam Driver’s commitment and some decent jeopardy, but relies too heavily on ineffective jump scares and fails to deliver the silly B-movie fun promised by its premise. [Read](https://www.theguardian.com/film/2023/mar/09/65-review-adam-driver-dinosaurs)
- **The New York Times**, A.O. Scott (40/100, inferred): The film is neither truly terrible nor halfway interesting, offering familiar dangers without awe, suspense or surprise as Driver's character runs a gauntlet of dinosaurs and other perils on ancient Earth. [Read](https://www.nytimes.com/2023/03/09/movies/65-review-adam-driver.html)
- **The Telegraph** (2/5): Adam Driver does his best in this late-Cretaceous romp, but the whole thing feels fatally underpowered and the dinosaurs cruelly underfed. The cheerfully silly concept is not the problem, but nervous recuts, a damp-squib ending and dinosaurs rarely shown to their best advantage leave it disappointing. [Read](https://www.telegraph.co.uk/films/0/65-review-tyrannosaurus-wrecked/)
- **Radio Times**, Kevin Harley (30/100, inferred): The promising mix of dinosaurs and Adam Driver fails to ignite in this underwhelming and derivative sci-fi survival thriller. The action sequences are half-baked and the film has precious few ideas of its own. [Read](https://www.radiotimes.com/movie-guide/b-0kdpj3/65/)
- **RogerEbert.com**, Christy Lemire (30/100, inferred): The critic finds the film boring despite its wild premise of Adam Driver fighting dinosaurs on prehistoric Earth. It fails to embrace B-movie silliness, with repetitive action, underdeveloped characters and a blandly heroic lead performance. [Read](https://www.rogerebert.com/reviews/65-movie-review-2023)
- **Vulture** (30/100, inferred): The critic deems the film not good and unengaging despite nonstop dino action. He singles out its mangled badness as oddly compelling while criticizing the confusing premise and lack of engagement. [Read](https://www.vulture.com/2023/03/65-movie-review-is-adam-driver-an-alien-in-this-movie.html)
- **Los Angeles Times**, Robert Abele (20/100, inferred): The movie is a pedestrian, dumb and dull hack job that is imitative and complacent rather than weird or wondrous about its extinction-level premise. It lacks visual breadth and compositional tension. [Read](https://www.latimes.com/entertainment-arts/movies/story/2023-03-09/review-65-adam-driver-dinosaur-space-science-fiction)
- **The Hollywood Reporter**, Frank Scheck: The critic calls it a middling throwback creature feature. He singles out the novelty of Driver using high-tech weaponry against the dinosaurs for praise while noting the overall low-rent feel compared to recent sci-fi blockbusters. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/65-review-adam-driver-1235347167/)
- **The Playlist**, Simon Thompson (B-): The critic calls it a decent but formulaic sci-fi action thriller that lacks sustained tension yet excels in its exhilarating third act and finale. Special effects and creature design are singled out for praise. [Read](https://theplaylist.net/65-review-a-decent-but-formulaic-sci-fi-action-thriller-that-delivers-a-third-act-worth-waiting-for-20230309/)
- **/Film**, Sarah Milner (6/10): The critic finds the film delivers on dinosaur scares and action sequences but suffers from weak writing, a stale story, and thin characters. Driver's performance is praised for adding depth through body language. [Read](https://www.slashfilm.com/1223821/65-review-adam-driver-sci-fi-thriller-delivers-on-dinosaur-scares-but-not-much-else/)
- **Consequence**, Clint Worthington (C-): The film is a shoddy, somber sci-fi thriller where Adam Driver spends more time sulking than shooting dinosaurs. Some handsome staging and spectacle are noted, but the action is clunky and the CG unconvincing. [Read](https://consequence.net/2023/03/65-review-adam-driver/)
- **Digital Spy**, Ian Sandwell (30/100, inferred): The film fails to deliver on its high-concept premise of a stranded pilot battling dinosaurs 65 million years ago, resulting in a tonal misfire that mixes grief themes with blockbuster action unsuccessfully. The standout cave set piece with dinosaur tension shows potential, but overall it is a jurassic dud. [Read](https://www.digitalspy.com/movies/a43226621/65-review-adam-driver/)
- **Paste**, Brianna Zigler (3.5): The movie fails to embrace its goofy B-movie premise and instead awkwardly grounds it with emotion, resulting in tedium. Driver's yelling and the final dinosaur sequence are singled out positively amid the flaws. [Read](https://www.pastemagazine.com/movies/adam-driver/65-review)

## Details

- **Director:** Bryan Woods, Scott Beck
- **Director:** Bryan Woods, Scott Beck
- **Writer:** Bryan Woods, Scott Beck
- **Cinematography:** Salvatore Totino
- **Editor:** Jane Tones, Josh Schaeffer
- **Music:** Chris Bacon
- **Production design:** Kevin Ishioka
- **Costume design:** Michael Kaplan
- **Producer:** Bryan Woods, Scott Beck, Sam Raimi
- **Cast:** Adam Driver as Mills; Ariana Greenblatt as Koa; Chloe Coleman as Nevine; Nika King as Nevine's Mom; Brian Dare as Zoic Ship (voice) (uncredited)
- **Runtime:** 1h 32m
- **Certificate (MPA):** PG-13
- **Release (the US):** 10 March 2023
- **Genres:** Action, Adventure, Science Fiction
- **Budget:** $45 million
- **Box office:** $61 million
- **Trailer:** https://www.youtube.com/watch?v=M6YfhX83Cj8

## Where to watch in the US

- Hulu: streaming, uhd
- Amazon Prime Video: streaming, uhd
- Disney+: add-on, uhd
- Amazon Prime Video: rent $3.99, uhd
- Amazon Prime Video: buy $14.99, uhd

*Checked 2026-09-10.*

Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, HR, IE, IN, IT, JP, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, TR, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *A Quiet Place* (2018), Fi1m 82: The same writers with a stricter rule and a great deal more nerve. — [Fi1m page](https://film.one/film/a-quiet-place.md)
- *Enemy Mine* (1985): Two stranded pilots, no shared language, and a film that actually enjoys the problem.
- *Pitch Black* (2000): Crash survivors, hungry things in the dark, and a cast who know it is a B-picture.
- *The Valley of Gwangi* (1969): Cowboys rope a dinosaur; Ray Harryhausen animates it; nobody stops to grieve.
- *Prey* (2022), Fi1m 76: A lean hunt in the wilderness that trusts its lead and its landscape. — [Fi1m page](https://film.one/film/prey.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/65