In the midst of the deluge of ’80s nostalgia media we’ve gotten the past several years, it’s been difficult to shake the notion that studios were relying mainly on the aesthetic of the decade that spawned so many sci-fi and horror classics, and often belying the core emotional story strengths that made it stand out. Would David Robert Mitchell‘s latest film, The End of Oak Street, produced by JJ Abrams’ Bad Robot and distributed by Warner Bros., and also set in the ’80s, follow suit?
I am exceedingly happy to report that not only does the director’s latest fulfill the basic necessity of telling a core emotional story with the Platt family, but does so in a way that anchors the film consistently as it deals with its wonderfully absurd and thrilling sci-fi and dinosaur premise, giving us an all-around fantastic and original classic that will be rewatched for years to come.
Mitchell, writing and directing the original film, ensures superb pacing throughout the runtime of The End of Oak Street. Even as the film starts out somewhat slow with its establishing of its characters and setting, there’s always an undercurrent of intrigue as you anticipate when the dinosaurs will show up. You’re always invested in what exactly will happen to the members of the Platt family, whose exceptional performances from the cast further anchor the film’s emotional stakes as it becomes increasingly (and wonderfully) absurd.
The End of Oak Street is, if nothing else, an exemplary thrill ride. The action is exciting and hilarious, the meticulous attention to detail on the (scientifically accurate!) dinosaurs is awe-inspiring as well as terrifying to observe, and the brisk pace balanced with heavy moments of the family taking in their perilous situation will allow you to also take a necessary beat before diving back into the dinosaur mania. Its various excellent parts make for a superb whole that will most likely be even better upon rewatch.
And it’s so refreshing to have Mitchell’s original idea be put to the screen with the requisite budget and star power. Not that dinosaur films are technically original, especially with the Jurassic Park/Jurassic World franchise, to which critics and audiences will surely make comparisons, but they can rest assured with how The End of Oak Street is a truly original take on the concept. As you struggle along with the Platt family to figure out the mystery of why they’re suddenly surrounded by the dinosaurs, Mitchell’s scope of imagination becomes all the more prevalent, making for a consistently engaging romp.
While the entire cast is great, acting juggernaut Anne Hathaway is the prime standout. Already having The Odyssey, The Devil Wears Prada 2, and Mother Mary under her belt for this year alone, she solidifies further with The End of Oak Street on why she’s one of the best and most versatile in the business. As Denise, Hathaway is a reluctant action hero undergoing personal issues that she needs to persevere through to save herself and her family, making for a relatable heroine to root for.
Ewan McGregor as her husband Greg is also great in his role, being a washed up dad struggling to keep his family afloat, all while contending with the wild dinosaur outbreak that’s taken over the neighborhood. Maisy Stella is excellent as older sister Audrey, a science obsessed teenager whose smarts come into play on their wild sci-fi adventure, and whose queerness is wonderfully showcased in the narrative.
Christian Convery, having previously starred in the Warner Bros. production Sweet Tooth, is great as the insecure yet daring younger brother Brian who rises to the task of defending his family (including best boy Starbuck) whenever possible. And in a big screen debut for young actress Jordan Alexa Davis, she brings warmth, more emotional stakes in the midst of the dinosaur horror, and valued companionship for the Platt family as Jeannette. She’s the only main Black role in the film — while the story’s central focus doesn’t center Black and brown representation, Davis’ inclusion is not tokenistic. She plays an integral part and we couldn’t be happier for it.
And the score by modern legendary composer Michael Giacchino is superb, rivaling a classic John Williams’ score but also remaining distinctly Giacchino’s own. The thrills and poignant moments are great in and of themselves, but Giacchino’s music lets them reach their critical cinematic apex.
There’s not enough good I can say about The End of Oak Street. An original film, with the backing of a major studio, that hearkens back to 80s classics while never copying them, and investing in a small scale family story that will be deeply relatable to almost anyone, with great acting, action, writing, and direction, was something we sorely needed in a cinematic landscape far too dominated by flatlined corporate IP. Between a film like this and Backrooms and Obsession, it’s even more abundantly clear that we need more systematic investment in original ideas and creators of all backgrounds. I highly recommend you go watch The End of Oak Street as soon as you can.
Representation rating: B+
Overall rating: A
Go watch The End of Oak Street when it hits theaters this Friday, August 14!
