#65 (2023)

[letterboxd-worth-a-damn]

[6lostgirl6]

When you wanna start writing for Commander Mills, someone please don't stop me. Encourage me. This man has me in a chokehold.

[celesztialbody]

(2/2)

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[snowluthor]

I wish in 65 instead of the rest of the crew/passengers dying in the crash they had at least some of them survive and get killed by the dinosaurs, even if it happened immediately after getting off the ship. It would have elevated the threat of the dinos to see them actually hurting someone + it would have been a lot more entertaining to watch.

[ultrahpfan5blog]

65 - Review

Decided to go catch 65 on a whim today because I had nothing much to do. Plus, I love Dinosaurs and a fairly decent budgeted movie with Dinosaurs sounded appealing. Maybe because I have been watching The Last of Us recently, but the traumatized father who lost his daughter, finding purpose in saving a surrogate daughter is a story that just works. And it is placed in the confines of essentially a monster horror flick, except Dinosaurs are the monsters in this situation. This film isn't great but I found myself having enjoyed it by the end. I totally admit that anything with Dinsoaurs is an easy appeal for me. Plus the Dinosaurs, although mostly seen in the dark, look pretty good for the most part. I do feel that the film could have been a little tighter at the beginning because the first 15-20 minutes do drag a bit. Also, I feel that the decision to have the little girl not speak english didn't pay off. Because there isn't enough dialogue in the film in between the Dinosaur moments. Adam Driver is performing at a level much above what the film is deserving. Or maybe he's just incapable of not being great. He quite literally carries the film single handedly. The film gets more interesting in the back half where we get some bigger and scarier Dinosaurs as well the ticking clock of impending doom. Certainly the climax is pretty great. All in all, I enjoyed it despite recognizing that the film isn't that great. It kind of straddles an in between, where it doesn't fully embrace the fun of a Dinosaur movie, but neither does it fully able to be a serious sci-fi survival horror film. So there is some tonal dissonance. Apart from Driver, Ariana Greenblatt is excellent as well as Koa. Also, Chloe Coleman makes an impression in a small role. Overall, I would say a 6/10 with an asterix that I am biased towards films with Dinosaurs.

[himbovillain-anon]

I’m gonna watch 65 idfc if it ends up being good or bad I wanna see dinosaurs 🦖

[moviewarfare]

A “QUICK!” Review of “65 (2023)”

I love Dinosaurs

I also love Sci-Fi

However, this Dinosaur and Sci-Fi movie doesn't work.

There is barely any plot, barely any character depth, and a severe lack of dialogue. I don't know why the writer made the characters unable to speak the same language because it just hinders the character interactions. They don't even explain what mission our main character was on and why the girl was there. It also has a lot of questionable things such as why a futuristic ship couldn't sense an asteroid belt, yet the main character has a sensor that works great on the ground.

The director and writer don't make us care enough about anything. So you should not care to watch this.

For more reviews like this visit:

https://moviewarfarereviews.blogspot.com/

[mostlygibberish]

I liked the part with the [HONKING] pterosaurs.

Have you ever wondered: What if Kylo Ren crash landed on the planet from Ark: Survival Evolved, but also it was home-brand The Last of Us? Yeah, me neither.

Most of this movie was just Adam Driver stumbling around, falling over, and injuring himself. It kept wildly changing in tone from one scene to the next; Sorrowful drama, tense action, slapstick comedy, whatever the hell that ending was meant to convey. No chance I could have any sort of attachment to this character with his cookie-cutter man-pain backstory, or the girl who barely communicated the whole time and had no backstory to speak of. 

The only thing she actually did made absolutely no sense, too. She randomly smeared poison berries on a dinosaur fang, then stored it in her backpack, solely so that 30 minutes later it would be the exact thing they needed in the specific situation she couldn't possibly have predicted they'd be in.

It really felt like they had planned to reveal that this took place on Earth somewhere through the course of the movie. They even added a little time-lapse at the end showing the rise of human civilisation as though that would have been only hinted at before that point, but then right near the start a literal plot synopsis just came up on screen, outright explaining that it was on Earth 65 million years ago.

The only explanation I can think of is that some studio executive was worried modern audiences wouldn't put two and two together, so they had to just blatantly state it or risk losing the five people who wouldn't otherwise have figured it out. The best part though is that it made absolutely no difference to anything that they were on Earth. So if it wasn't a surprise reveal and it didn't affect the plot, what purpose did it serve?

Stupid and pointless. Mildly amusing in the unintentional sense, but not enough that I'd recommend it to anybody.

[naughtygirl286]

So while on our way to see the craziness of FastX this week we did stop for some pick ups 😄 We picked up the Sci-Fi action thriller “65” (or as we have been calling it Dinosaurs…IN SPACE!) plus we also picked up Dungeons & Dragons: Honor Among Thieves both of course on 4K which is awesome. Both movies are really good! so if you get the chance you should give them a watch.

[thecynicalcinephile]

So, About 65,

If you told me this movie actually came out a couple years ago and we all just forgot about it, there's a good chance I'd believe you.

There just isn't anything that memorable here. Adam Driver's performance could've been delivered by just about anyone, the special effects are just kinda there, and the film ultimately refuses to properly engage with its own premise.

The only real positive thing about this film is that it is heartwarming, to a certain degree, but only in an incredibly forced way that I feel like I've seen a dozen times before.

Now, I wouldn't necessarily say the film is bad, it is certainly well-made, there just isn't anything to write home about. Suitable for putting on as background noise, but not for much else.

[rookie-critic]

Rookie-Critic's Film Review Weekend Wrap-Up - Week of 3/6-3/12/2023

-Return to Seoul (2022, dir. Davy Chou)

I wanted to like this more than I ended up liking it. What could have been an incredibly moving story about the detriments of trying to fill voids in your happiness with the idea of others and not with love for yourself is kind of lessened by a main character that was very selfish, mean, and outside of her life situation, was mostly unrelatable. I just couldn't find an in with the protagonist of the film, Freddie, and it kept me from fully enjoying what is mostly a well-made film.

Score: 7/10

Currently only in theaters. See my full review on here.

-Argentina, 1985 (2022, dir. Santiago Mitre)

An incredibly gripping courtroom drama about a piece of South American history that more people in the world should know about. A true, mostly inspiring, but also frightening in ways, story about fascism in 1980s Argentina and how, even after it was defeated, the seeds of it remained in the democratic government set up in its place. The struggles of a handful of young law professionals as well as the work of Argentinian DA Julio Strassera. At a whopping 140 minutes, Argentina, 1985 never once feels its length, and that is just one of the many impressive things about this film that makes it one of the best non-English language films of last year.

Score: 9/10

Currently streaming on Amazon Prime Video.

-Rocky V (1990, dir. John G. Avildsen)

I've heard that his is the Rocky film that fans of the franchise don't want to touch with a 10-foot pole and I don't really understand why. It's not really bad, it's more just kind of boring. The story just doesn't really go anywhere and the final fight, while an interesting subversion on the previous 4 films' largely similar structure, isn't particularly gripping and is very aged, and not in the best way. Sage Stallone does a decent enough job playing Rocky Jr. and Sly Stallone is just as motor-mouthed and lovably dumb as ever as Rocky, but again, everything here mostly just ok. I don't really think I'll remember too much about this going forward.

Score: 5/10

Currently streaming on Netflix.

-All the Beauty and the Bloodshed (2022, dir. Laura Poitras)

This was a wonderful documentary about renowned photographer/activist Nan Goldin; half about her life coming up in the counterculture of 80s New York City during the AIDS crisis, and half about her more recent work as an activist against the Sackler family and their involvement in the opioid crisis. The two halves of Goldin's story are weaved together and related to each other wonderfully by the film's director Laura Poitras and editors Joe Bini, Amy Foote, and Brian A. Kates. Goldin's own photographic slideshows are mixed with other archival footage and modern interviews to make a story that way more succinct and whole than I was expected from something that, one the surface, seems like it would be disjointed.

Score: 8/10

Currently available to rent/purchase on digital (iTunes, Amazon, Vudu, etc.) and coming soon to Blu-ray & DVD through Criterion.

-Blonde (2022, dir. Andrew Dominik)

I really wanted to give this one a chance. Ana de Armas does a brilliant job as Marilyn Monroe, but really the film dips it's toe too often into the wrong side of exploitation, and it makes the film hard to watch. Not in a way that makes it profound or thought-provoking, but in a way that feels cruel and unusual. The film is shot well, but the things happening on screen are more often than not too bizarrely horrible to keep your eye on. At certain points it almost felt like it reveled in portraying Monroe's suffering. This isn't to mention that it is based on a book that is self-admittedly more fiction than fact by the author. I'm interested in learning about Monroe's actual life, and I don't feel like this gave a clear image of that at all.

Score: 4/10

Currently streaming on Netflix.

-Operation Fortune: Ruse de guerre (2023, dir. Guy Ritchie)

I was not a fan Ritchie's last film, Wrath of Man. I thought it took pride in all the worst parts of machismo and was an oddly self-serious film in his filmography. Thankfully, Operation Fortune doesn't have this issue. The Guy Ritchie that made Snatch and The Gentlemen is back. The misogyny that is normally the dark spot on most of his movies is dialed way back here, which is nice. Now, the plot is almost non-existent and non-important and the characters and their motivations and personalities are similarly non-important and paper thin, but the film is funny and entertaining, and that's all I ever really want out of a Guy Ritchie film. Hugh Grant gets a special shout out for stealing every single moment he's on screen.

Score: 7/10

Currently only in theaters.

-Rocky Balboa (2006, dir. Sylvester Stallone)

Overall, probably my favorite of the Rocky films. Rocky is just a sweet old man looking to connect with his son and remember his wife fondly. Bringing back the little girl from one scene of the first film as a fully fleshed-out adult character was an inspired choice, and, while Paulie is still a giant pile of trash on fire, he actually shows a bit of remorse for his actions over the previous five films, and that can't count for nothing. Just a very impressive, deceptively incredible late-stage entry in a beloved franchise.

Score: 8/10

Currently streaming on Paramount+.

-Mrs. Harris Goes to Paris (2022, dir. Anthony Fabian)

As someone who hasn't seen either Paddington film, I imagine this is as good as a film can make you feel without actually being Paddington. Lesley Manville is absolutely marvelous and beautifully kind as Mrs. Ada Harris. This was one that I skipped out on seeing in the theater because it didn't seem like something I would enjoy, but it ended up stealing my heart and making me feel ashamed for shrugging it off before. Watch this if you're feeling down for an instant shot of serotonin.

Score: 9/10

Currently streaming on Peacock.

-Scream VI (2023, dir. Tyler Gillett & Matt Bettinelli-Olpin)

I won't gush about this anymore than I already have. Radio Silence have done a great job picking this franchise up from where the wonderful Wes Craven left it off. The acting is superb, the horror is superb, the story is superb, Scream continues to be the best slasher franchise by a significant margin. Way to go.

Score: 10/10

Currently only in theaters. See my full review here.

-Tell It Like a Woman (2022, dir. Catherine Hardwicke, Taraji P. Henson, Lucia Puenzo, Leena Yadav, Maria Sole Tognazzi, Mipo O, Lucia Bulgheroni & Silvia Carobbio)

As well-intentioned as this is, it's not a film, it's a PSA. Half of these are barely stories and more like a video that would play in the middle of a self-help seminar to prove a point. Only one of these seven stories feels like a legitimate short film, the one directed by Japanese director Mipo O, and it's the only stretch of the film that doesn't feel like a complete waste of time.

Score: 3/10

Currently available to rent or purchase on digital (iTunes, Amazon, Vudu, etc.).

-The Quiet Girl (2022, dir. Colm Bairéad)

Last year, right as I was about to cut off my viewing for the 2022 season and post my Best Of list, I saw The Worst Person in the World, a non-English language film the ended up ranking towards the top of my list. This year I didn't think that was possible, as 2022 was a truly magnificent and special year. My Top 20 (hell, my top 35-40, even) are all so amazing it's hard to imagine anything cracking into the upper echelon of the list. Yet, somehow, The Quiet Girl has managed just that. This massively slow-paced film managed to not only to maintain my interest, but right at the end. When you wonder how the film could possibly bring all of its themes and messaging together in a way that feels uniquely whole and satisfying, the titular Quiet Girl, Cáit (played with the emotional depth of a thousand oceans by newcomer Catherine Clinch), utters two words; or rather, the same word twice, but with two deliveries so utterly different that it shatters your soul into a million little pieces and breaks the walls of the even the most hard-hearted person on the planet down until you're just a mess on the floor of theater (not really, that's nasty, but you get the idea). Any qualm I may have even remotely had with the slow trot at which the majority of the film clips along in is immediately dashes, thrown out the window and never to be heard from again, all from just two softly spoken little words. It's truly powerful and within the next couple weeks when you see me make my Best of 2022 posts, I guarantee you'll be seeing this somewhere, and most likely pretty high up.

Score: 10/10

Currently only in theaters.

-Mandy (2018, dir. Panos Cosmatos)

Watched as a part of my college friends' Nic Cage Fridays movie night, I was very, very excited to see this. I was shocked when we were three quarters of the way through the film and everyone else except for me and one other person was cracking jokes and making fun of the film like it was The Room. It for sure has a decent number of issues: the beginning act of the film is dreadfully slow and begins to outstay its welcome, the plot of the film (if you could call it that) is so unbelievably thin, and Cosmatos' work and experiments with color in frame, while definitely a strong vibe that I liked, doesn't necessarily add anything artistically to the film. I wouldn't say, however, that it is worthy of the ire it was receiving from the crowd. Nicolas Cage's performance as Red, while sparse throughout the first half of the film, kicks into absolute high gear in the second, and manages to make the film have one of the craziest, most fun, and absolutely phantasmagorical third acts of any film I've ever seen. I guess it's not for everybody, but please, if you haven't seen it, Google it, take a look at some stills and read the basic setup of the plot, and if it sounds even remotely interesting, give it a shot. I found it to be a very rewarding watch.

Score: 7/10

Currently available for rent or purchase on digital (iTunes, Amazon, Vudu, etc.) or on Blu-ray & DVD through RLJ Entertainment.

-Champions (2023, dir. Bobby Farrelly)

This ended up being surprisingly heartwarming and funny. A film about intellectually disabled adults that never centers them as the punchline of the joke, but rather the ones delivering said punchline, Champions excels at giving these oft-belittled members of the human race their own voice and space to be not only taken seriously as individuals, but also raucously hilarious. Directed by one-half of the Farrelly brothers (of Dumb & Dumber and There's Something About Mary fame), there are only a few moments of the signature gross-out Farrelly humor, and honestly they're the most out of pocket, odd moments of the film. Woody Harrelson and Kaitlin Olson give good performances as the central protagonists of the film, but truthfully the spotlight and the majority of the kudos should go to the basketball team at the heart of the film, namely Madison Tevlin, Kevin Iannucci, and Casey Metcalfe. Honestly, the entirety of the Friends (the name of the team) deserves the highest of praise, and I don't mean that patronizingly. They steal the show every moment they're on screen. The framework and overarching story isn't really anything special or new, but criticizing a film with this big of a heart feels disingenuous, so I'll just say I liked it and leave it at that.

Score: 7/10

Currently only in theaters.

-Thirteen Lives (2022, dir. Ron Howard)

I don't have a ton to say about Thirteen Lives other than that I really liked it. I think this is the big awards snub of the year, receiving basically no attention which, for a film like this that Academy voters generally eat up, is very surprising. It's Ron Howard's best film since 2013's Rush and, much like Argentina, 1985, is a film about real-life events that runs over 2 and a half hours that absolutely never feels like it. A thoroughly enthralling and awe-striking cinematic experience. It's an Amazon Prime Video original, but one can imagine how magical this would have been to see in the theater.

Score: 9/10

Currently streaming on Amazon Prime Video.

-65 (2023, dir. Scott Beck & Bryan Woods)

This was definitely a movie. There was a story and an Adam Driver and spaceship crashes and dinosaurs and a kid and everything that a movie needs to be, well, a movie. It doesn't make the most of its premise, which is disappointing, and also doesn't make much use of the dinosaurs, which is disappointing. I think what saves the film is Driver's general talent and the parent-child chemistry of Driver and Ariana Greenblatt, which is good and generates an interest in seeing them survive this prehistoric sci-fi ordeal together. This will be something I'll most likely forget a lot of in the coming months, regardless of how much fun I had while my butt was in the seat watching it. I'm not going to say don't see it if you were already interested, but I'm also saying that if this wasn't something that interested you in the first place, you're not really missing out on anything spectacular.

Score: 6/10

Currently only in theaters.

[letterboxd-worth-a-damn]

[6lostgirl6]

Just seen the movie 65 with Adam Driver and-

I'm in fucking love like what the hell I have another fictional crush added to the list 🫶

[celesztialbody]

(1/2)

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[ladyhaylo]

[hoshingi]

employee kwon complaining to ceo woo