A Michigan family embarks on an unexpected journey in “The End of Oak Street,” a film that intriguingly blends elements of family dynamics with a prehistoric twist.
Upon seeing the trailer, viewers may have found themselves pondering the film’s dinosaur theme. Fortunately, the movie does not linger too long on this aspect. While the film, directed by David Robert Mitchell, may not fully satisfy all viewers, it stands out as a more engaging option for those captivated by dinosaurs compared to the recent installments of the Jurassic World franchise. However, there remains a sense of unfulfilled potential.
This film marks the third of Mitchell’s four works set against the backdrop of Detroit, where he spent his formative years. Set during the summer of 1982, it follows Greg and Denise Platt, portrayed by Ewan McGregor and Anne Hathaway, as they grapple with marital strife. Greg has not disclosed that he lost his job weeks earlier, leaving them reliant on his side hustle of pizza delivery as their sole income. Meanwhile, Denise secretly pursues her passion for writing, crafting an autobiographical novel that explores the discontent of suburban motherhood. Their personal struggles take an unexpected turn one night when their home and everything within a two-mile radius are transported 200 million years into the past, forcing them to lock themselves inside with their teenagers, Audrey and Brian, to fend off hungry dinosaurs.
The film excels in capturing the nuances of suburban life and the daily concerns of its residents. Early scenes depict the rhythms and textures of this setting effectively. As the Platt family begins to comprehend the drastic changes in their neighborhood, the revelations unfold gradually. This tension culminates in a tense moment when Greg, searching for the family dog, unexpectedly encounters a feathered raptor that sees him as dinner. Mitchell’s visual storytelling shines through in a remarkable one-take sequence where an allosaurus corners the children, prompting the parents to create distractions in a desperate bid for survival. Additionally, a fictional snake-like dinosaur stealthily entering the Platt home adds an intriguing layer to the narrative.
However, the film’s treatment of family issues leaves much to be desired. Brian’s quest for the dog results in a contrived separation from his parents, and the dog’s timely reappearance feels almost implausible. Unlike “A Quiet Place,” which skillfully explored character development amidst horror, “The End of Oak Street” falls short in this regard. Last summer’s “Weapons” also depicted community responses to inexplicable terror more effectively.
In comparison, “The End of Oak Street” evokes the lesser works of filmmakers like Steven Spielberg or J.J. Abrams, who produces this film. The resolution comes too easily, undermining the narrative’s tension. Although Hathaway delivers a strong performance, often seen wielding a shotgun, it does not compensate for the film’s shortcomings. While Mitchell has garnered a dedicated following with his previous projects, such as “It Follows” and “Under the Silver Lake,” his shift toward mainstream appeal appears to have resulted in unnecessary compromises, which is disappointing.
The End of Oak Street
Starring: Anne Hathaway and Ewan McGregor.
Written and Directed by: David Robert Mitchell.
Rated: PG-13.
