THE END OF OAK STREET
Starring: Anne Hathaway, Ewan McGregor, Maisy Stella, and Christian Convery
Director: David Robert Mitchell
PAIGE
Move over Jurassic World, we’ve got a new dino movie in town. The End of Oak Street proudly wears its classic Amblin influence on its sleeve. Writer/director David Robert Mitchell crafts a personal story at its core that feels lived-in, while packing in plenty of mayhem that isn’t afraid of pushing the boundaries of a PG-13 rating. It’s a well-paced thrill ride from start to finish. The movie’s script is a bit thin, but that didn’t stop me from having a blast with this one. The End of Oak Street may honestly be the best dinosaur movie since the original Jurassic Park.
AMARÚ
The behind-the-curtain look inside the “perfect” 1980s TV-family really helps to emotionally invest you in the nostalgic thrill ride that is The End of Oak Street. Writer/director David Robert Mitchell brings a realistic terror to his dinosaurs, pushing the limits of its PG-13 rating, and allowing the wonder and magic of all of the sci-fi elements to stay grounded instead of feeling out of place. You feel the love and struggles of the Platt family through the great performances of Anne Hathaway, Ewan McGregor, Maisy Stella, and Christian Convery, making Oak Street an entertaining dichotomy of horror and heartfelt.
QUENTIN
The End of Oak Street hits many high notes, particularly with its Amblin-inspired vibes, moments of genuine surprise, and an unmitigated chutzpah to “go there.” That said, the tonal whiplash, empty characters, and plot contradictions make it tough to truly connect with, resulting in an enjoyably hollow blockbuster that could have been something greater. Mixing the dark horror tones of Jurassic Park and Poltergeist with the family-friendly adventure tones of Harry and the Hendersons and Flight of the Navigator is just a little jarring. Still, it’s the year’s best Spielbergian movie, which is funny considering Steven Spielberg himself gave us Disclosure Day earlier this summer.
ADRIANO
I’ve complained about nostalgia farming, but The End of Oak Street does it correctly. It takes the correct lessons from the 80s blockbusters that defined the concept, goes all in on the corniness and stupidity, and proudly sports its Steven Spielberg and M. Night Shyamalan influences, all while keeping the thrills elevated by the family at the centre. The character writing certainly has holes, but this family is endearing enough that it creates another layer in what could’ve just been a very fun dinosaur movie pushing the PG-13 rating. It’s a total blast, and the Jurassic World movies should be embarrassed.
BODE
Writer-director David Robert Mitchell heads back to suburbia with The End of Oak Street, and this time, the horrors are far more prehistoric. Owing as much to Joe Dante as it does to Steven Spielberg, Mitchell aims for the sun-kissed warmth and mean-spirited thrills of some of their joints. Like most Amblin imitators, there isn’t a ton under the hood, but the dinosaur set pieces are absurdly exciting. Plus, Anne Hathaway is excellent throughout. It’s fun enough as a late-summer diversion that you wish was a little better, and it beats all of the Jurassic World movies.
ROBERT
I think, in a different era of movie promotion, the reveal of dinosaurs in The End of Oak Street wouldn’t have been spoiled, thereby enhancing the impending mystery. Today, what we are left with is a well-acted and decently composed sci-fi family drama that painfully straddles tones but never has the gumption to take its intentions further. The tension and anger are never emotional enough, the comedic beats aren’t funny enough, and the violence, despite the number of bodies, isn’t violent enough. Also, the rhyme or reason for why characters do certain things is baffling, but not in the “badly entertaining” way.
