Film Review – The Conclusion of Oak Street (2026)

      The End of Oak Street, 2026.

      Written and Directed by David Robert Mitchell.

      Featuring Anne Hathaway, Ewan McGregor, Christian Convery, Maisy Stella, Jordan Alexa Davis, P.J. Byrne, Bethany Anne Lind, Emily Kuroda, Denitra Isler, Hudson Meek, Anne Gee Byrd, Michael-Christian Moore, Hugo Silver, and Simms May.

      SYNOPSIS:

      The Platt family unites to adjust to their unfamiliar environment after a cosmic event relocates their suburban community to an unknown location.

      While the idea of humans surviving against dinosaurs tends to create suspense, writer/director David Robert Mitchell’s tonally chaotic The End of Oak Street recognizes the need to incorporate humor as well. A humorous nod to Jurassic Park, which hasn't yet been released since the film is set in 1982, highlights that the filmmaker isn’t shy about showcasing his influences. The familial aspect of the story echoes Spielberg’s style, focusing on parents nearing a potential divorce, with the struggle against dinosaurs ultimately bringing them back together.

      Produced by J.J. Abrams, which helps explain the tone more than David Robert Mitchell, who is once again venturing into a different realm compared to his previous films, It Follows and Under the Silver Lake, this film doesn’t consistently achieve its intended goals. Although The End of Oak Street draws inspiration from Amblin, it fails to capture that same sense of wonder and magic. There is, however, a notable twist in how the filmmaker is willing to be ruthless to the characters, regardless of the audience’s feelings towards them, though this is largely undone in the final 20 minutes, which feel like one extensive studio suggestion on how to conclude the film in a way that leaves viewers satisfied. Even so, the film carries an inconsistent tone that raises questions about whether it was meant to be darker. It seems uncertain about its direction.

      What adds to the frustration is that David Robert Mitchell has a knack for staging gripping scenes of humans fighting for survival against dinosaurs, using everything from firearms to baseball bats. A scene where a dinosaur lifts a vehicle in its jaws and crashes it through a house's walls, leaving characters suspended midair, is just as tense as those moments when prehistoric creatures silently approach oblivious humans. As mentioned earlier, there are several genuinely funny moments that punctuate the tension, alongside a bold choice halfway through that reinforces that no character here is safe from dying. Some of the violence appears comedic, even when it involves the protagonists (the timing of the dog’s return is infused with a hint of dark humor).

      Despite being well-crafted, The End of Oak Street struggles to resonate emotionally as it fluctuates in tone. Part of the issue stems from the troubled couple, Denise and Greg Platt (played by Anne Hathaway and Ewan McGregor), who are often placed in situations requiring them to bluntly express the film’s themes and messages. It feels overly heavy-handed. Additionally, they are not particularly compelling characters, barely evolving beyond their initial presentations (aside from a moment where Anne Hathaway not only battles a dinosaur out of necessity but also channels anger and vengeance through her passionate facial expressions).

      Denise is an aspiring author with a book that her friend—who used to be an editor for her husband, often unappreciated—recognizes as deeply personal, reflecting her growing inclination to leave her family, especially considering Greg’s frequent unavailability (even at a block party they agreed to attend together, he succumbs to the temptation of his side gig delivering pizzas). Consequently, their various chances to part ways are predictably dismissed by Denise every time.

      The teenage children, Brian and Audrey (Christian Convery and Maisy Stella), also lack distinct characterization and make remarkably foolish decisions that lead the family into peril. Brian's main desire revolves around reuniting with his adventurous dog, lost among the dinosaurs, while it’s difficult to even recall anything about Audrey. The other residents of the neighborhood primarily serve as dinosaur prey (to the film's credit, there are some astoundingly brutal deaths; at times, it resembles the infamous Jurassic World sequence where an unsuspecting character is dismembered by dinosaurs). Meanwhile, our protagonists navigate a bizarre world that uniquely blends prehistoric scenery into 1982 (a remarkable visual achievement that also leaves them stranded and isolated, reminiscent of a video game environment).

      The underlying reason for this odd scenario serves as a clever sci-fi premise that also enhances the theme of staying together. One of the film's standout scenes is not action-oriented or dinosaur-related but rather revolves around the characters thoughtfully discussing theories about the events that have transpired and how these timelines have intertwined. Unfortunately, The End of Oak Street exhausts its premise well before the conclusion, further weakened by hollow characters and lackluster storytelling. Striving for Amblin’s enchantment does not equate to actually achieving it.

      Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★

      Robert Koj