Adam Driver against the press, the dinosaurs and the meteorite

This is not an ordinary exam, but rather a field report. If It Was Up To Film Distributor UPI, There Would Be A Sci-Fi Survival Movie 65 no reviews appeared at the time you are used to from us, namely at the start of the new game week.

Journalists wishing to attend a press presentation had to sign a non-disclosure agreement until Wednesday, March 15, one minute before midnight. Often a bad sign: it usually doesn’t bode well when distributors want to protect films from critics.

And that’s for an average B-movie with a fairly straightforward story about a space pilot who crash-lands 65 million years ago in a swamp on our own planet Earth, where dinosaurs babble nonstop. He reluctantly left the planet Somaris two years earlier on a well-paying mission so he could pay for his sick daughter Nevine’s treatment. Health care costs are also skyrocketing in distant galaxies.

https://www.youtube.com/watch?v=zQgBJXeXt0Y

The dinos aren’t his only obstacle in the way of the life pod teetering on top of a mountain. If this Mills, played by Adam Driver, still thinks he is the only survivor of the crash, we can already see the fiery orb of the meteorite, which ended the Cretaceous around 65 million years ago, rushing towards Earth. Suspense by the book. Time is running out, danger is everywhere.

Since he produced for around $91 million 65 has been exposed for a week in the United States, United Kingdom and Germany, among others, the Dutch confidentiality agreement does not protect a major interest. I saw the film at a public screening in Berlin and when leaving the cinema The New York Times And The Guardian just upload their two star reviews.

The state of things all around 65 makes it clear once again that the whole economic ecosystem plays a bigger role in commercial movies than we care to acknowledge. The press and the public become the playthings of financial interests. 65 in the meantime, it’s not getting better or worse.

At most, we can say that the director/screenwriter duo Scott Beck and Bryan Woods, who were more responsible for the screenplay of A silent place respected the budget. You may even have some sympathy for the ambitious mess the film has become. They’ve learned from classic 1950s monster movies that they’re most terrifying at night and in the morning. By Christopher Nolans Interstellar they raised that any great sci-fi action movie should ultimately be a family movie. So when Mills discovers another survivor in whom he finds a surrogate girl, we understand why A silent place in all his modesty and concentration was so good. Just like in that movie where a deaf girl played a big role in the plot, the theme of communication is again woven into the story. Mills and the Koa girl must learn to speak each other’s language, while a hologram of the Nevine girl further outlines the family theme. Fathers and daughters. It’s a little drama in a world of volcanic eruptions, falling trees, meteor showers and tyrannosaurs rex boiled alive in geysers. If this had been a review, I would have given two bullets.