At the end of the block in David Robert Mitchell’s film, there is a cul-de-sac with a telephone pole placed centrally, with wires extending outward like a circus tent. This visual motif suits the movie’s frenetic, carnival-like atmosphere, reminiscent of nostalgic cinematic showmanship. Summer films often indulge in this chaos, but much of the pleasure in Mitchell’s ‘The End of Oak Street’ lies in its 1980s setting. The movie absorbs the blockbuster spirit of Amblin Entertainment, creating a thrilling summer experience perfect for drive-in theaters.
Mitchell, acclaimed for his 2014 horror film ‘It Follows,’ has previously ventured into ambitious storytelling with ‘Under the Silver Lake,’ a neo-noir set in Los Angeles. In ‘The End of Oak Street,’ indulgences are designed for the viewer as the film explores a 1980s suburban family thrust through time. It’s a wildly entertaining ride, best enjoyed with minimal prior knowledge of its twists. Yet, many elements of ‘The End of Oak Street’ are instantly recognizable, beginning with its central family.
The Platts reside in a neighborhood reminiscent of San Fernando Valley, characterized by split-level homes and orderly streets. Denise (Anne Hathaway) and Greg (Ewan McGregor) have two children and a dog named Starbuck. Their daughter, Audrey (Maisy Stella), is a teenager, while Brian (Christian Convery) is her younger brother. From the start, as seen during a neighborhood fair, the Platts’ seemingly perfect life shows cracks. Greg juggles a side job delivering pizzas, and Denise secretly writes a novel about a woman fantasizing about leaving her family. Meanwhile, the children have their secrets and are worried about their parents’ possible divorce. This setup for a sci-fi adventure finds roots in Spielberg’s signature style of storytelling.
Although ‘The End of Oak Street’ puts familial bonds to the test, Mitchell infuses the script with elements of horror, absurdity, and humor. Dinosaurs play a key role in transforming the Platts’ world. Initially, signs are enigmatic—a flash of light, exotic flowers, and a pile of feces. Soon enough, the neighborhood becomes overrun with primal creatures and surrounded by a prehistoric jungle. The plot echoes classic ‘Twilight Zone’ themes while addressing challenges encountered by the ‘Jurassic Park’ series. Instead of struggling with off-island settings, ‘The End of Oak Street’ brings the prehistoric island to suburbia, with raptor encounters happening on front porches and shaggy carpets.
While the movie could be labeled as mindless fun, its success lies in its heartfelt portrayal of characters. Despite the bizarre premise, the Platts remain relatable, grounded by Hathaway’s performance. Combining family drama, CGI antics, and zany plot twists, ‘The End of Oak Street’ offers a near-constant joyride. Composer Michael Giacchino channels John Williams with his score. However, Mitchell introduces unique elements absent from the Spielberg formula, like a scene featuring a distressed Audrey secretly listening to Steve Winwood’s ‘Valerie’ in her car. While the film may not offer deep complexity, it illustrates characters keeping secrets out of fear that their loved ones can’t handle the truth.
The narrative of dinosaurs overtaking the neighborhood can symbolize ecological disasters, yet the family faces trials proving their resilience. Despite questionable reassurances amid danger, the Platts demonstrate strength, reinforcing the film’s old-school family adventure ethos with a modern twist. Mitchell’s exploration of suburbia continues to flourish in this realm of storytelling, ensuring that adventures, or perhaps something unexpected, are never too far behind. ‘The End of Oak Street,’ distributed by Warner Bros., hits theaters on Thursday. It is rated PG-13 by the Motion Picture Association for strong violence, bloody imagery, strong language, and suggestive content. The film runs for 99 minutes, earning three out of four stars.