65 solves the tech problem Star Trek and Star Wars can’t unravel

polygon.com:

For a movie about Adam Driver fighting dinosaurs, 65sure came and went without much fanfare. The futuristic survival film — a collaboration between A Quiet Place writers Scott Beck and Bryan Woods — quietly slipped into theaters in March and was immediately overshadowed by Academy Awards coverage.

With the movie now streaming on Netflix, though, new audiences will rapidly find out what those few theatergoers already knew: 65 features a unique world that seamlessly blends analog and digital technology.

This is a film every franchise director should study: It’s a how-to guide with a clear vision about crafting a lived-in world straight out of classic science fiction, but with the full benefits of modern tech. Unlike so many of its peers, 65 draws inspiration equally from all periods of Hollywood science fiction, and its depiction of technology should become the gold standard for production designers from now on.

Over the last century, our vision of the future has been a moving target defined by advancements in practical and digital effects. Everything in Star Trek’s Kelvin universe films contradicts the retrofuturism of Star Trek and Star Trek: The Next Generation. Similarly, the production design of the Star Wars prequels takes full advantage of green screen technology to add new characters and locations into an existing, practically built galaxy, creating a visual disconnect that modern Star Wars shows like The Mandalorian and Andor are still working to merge.

Perhaps the most apparent dichotomy is between 1979’s Alien and 2012’s semi-prequel Prometheus, especially given Ridley Scott’s role as director of both. Although the latter is supposed to take place almost 30 years before Scott’s seminal sci-fi horror film, the