David Robert Mitchell's 'The End of Oak Street' thrusts a modern suburban family into a prehistoric world, offering a thrilling, albeit imperfect, adventure that channels the spirit of classic 1980s Steven Spielberg blockbusters. The film, which premieres August 14, manages to overcome its absurd premise to deliver an entertaining spectacle that compensates for a summer lacking a new 'Jurassic World' installment.
The story centers on the Platt family: Denise (Anne Hathaway) and Greg (Ewan McGregor), a couple whose marriage is strained by Greg's drinking and financial struggles, and their children, Audrey (Maisey Stella) and Brian (Christian Convery). Audrey dreams of attending Cornell to study astronomy, while Brian struggles with typical teenage rebellion. Their ordinary suburban life is abruptly shattered when their neighborhood is transported through a wormhole to an era ruled by dinosaurs.
Mage: A prehistoric plant, an unusually large pile of droppings, and a geyser of steam hint at the strange transformation before a spiky tail and a massive, feathered face confirm the neighborhood's displacement. The reveal, initially played with Spielberg-esque subtlety, gradually gives way to a full-blown prehistoric landscape, making "Oak Street" feel more like "Jurassic Park Ave."
The film's dinosaur designs are a highlight, faithfully rendering the feathered and fuzzy appearances now understood to be characteristic of these creatures, while retaining their fearsome presence. Audiences in screenings reportedly cheered at the depictions of dinosaurs slaughtering and consuming humans. The creature design extends to original creations, including large, rocky turtles and a colossal, silent serpent with rows of sharp teeth, adding unique elements to the prehistoric world.
Despite the visual spectacle, the human element of 'The End of Oak Street' falls somewhat short. While Hathaway and McGregor deliver charming performances, their on-screen chemistry doesn't quite resonate. Audrey's character serves primarily to deliver exposition on quantum physics and wormholes, which feels underdeveloped. Brian, the rebellious teen, is largely confined to complaining and crying, making him the least compelling member of the Platt family. The supporting characters also lean towards archetypes—the '80s bully, the new girl, the annoying neighbor—and while the film touches on how these roles dissolve in a crisis, it doesn't delve deeply enough to create a lasting impact.
Mitchell, who previously demonstrated a talent for character-driven narratives in 'It Follows' and 'Under the Silver Lake,' appears to prioritize the visual grandeur and action of the dinosaur encounters. In this regard, 'The End of Oak Street' succeeds, offering moments of pure, exhilarating adventure. The film builds towards an epic conclusion that effectively smooths over narrative inconsistencies and underdeveloped plot points.
While it may not perfectly recapture the magic of Spielberg's iconic films, 'The End of Oak Street' comes remarkably close. It provides the kind of joyous, spectacle-driven entertainment that characterized 1980s blockbusters, culminating in moments of unadulterated cinematic bliss, even involving a heroic dog.
'The End of Oak Street' is set to premiere in theaters on Friday, August 14.