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You might think that a movie in which Adam Driver action against a group of dinosaurs could not be boring, but that’s exactly what “65” is about.

It’s a movie that would have benefited from being a lot dumber. The big-budget sci-fi movie-which reportedly cost $91 million to make and was featured in a Super Bowl commercial-should have embraced its inherent B-movie roots.instead, he’s trying to juggle a wild story of survival with a poignant family drama, but both elements feel so rushed and underdeveloped that neither includes themselves. There is nothing in these characters, and the action sequences are repeated quickly and tiresomely. There is a fear of jumping, haunting notes of an overbearing score, running and screaming, gnashing of teeth and, perhaps, a wound from a narrow escape. Over and over again.

But the film of the writing-directing team of Scott Beck and Bryan Woods, whose credits include the joint writing of “a Quiet Place” with John Krasinski, offers a strangely contradictory premise. It takes place 65 million years ago, but suggests that at that time futuristic civilizations existed on planets throughout the universe. On one of them, Driver plays the role of a space pilot named Mills. He will embark on a two-year exploratory mission to pay for medical treatment for his sick daughter (Chloe Coleman from “My Spy”, which can be seen in the opening of the film and in sporadic video excerpts).

On the way to his destination, the ship that Mills is flying enters an unexpected asteroid field, rips and crashes. All passengers in cryogenic sleep are finished-except for one, who happens to be a girl the same age as his daughter. Her name is Koa and she is played by Ariana Greenblatt. And the planet, whose swampy terrain is reminiscent of Dagobah, happens to be-wait for it-the Earth.

“65″ forces Mills and Koa to get from the wreckage to a mountain top so that they can command the escape pod perched there and fly away before the dinosaurs can trample and chew it. The creatures can sometimes be surprising, but sometimes they look so cheesy and dummy that they resemble the animatronics you would see in a Chuck E. Cheese restaurant. And yet! It would almost have been better – or at least more entertaining— if “65” had leaned more heavily on this silliness, if it had toyed with the basic ridiculousness of mixing complex technology with the Cretaceous period. They rarely use Mills’ advanced equipment in an inspired way in this prehistoric environment. The few attempts at humor fall flat—they consist mainly in the fact that Koa mocks Mills for being tense-and the moments of peril end too neatly for us to bask in her fear.

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