David Robert Mitchell's latest film, "The End of Oak Street," arrives as a "breakneck, carnivalesque movie made with throwback showmanship," according to Associated Press film writer Jake Coyle. The film, set in the 1980s, channels an Amblin-style blockbuster spirit, evoking a summer thrill ride reminiscent of drive-in cinema without relying on irony or overt homage.
Described as a "bonkers blast," the movie centers on the Platts, a seemingly typical suburban family residing in a San Fernando Valley neighborhood. The family includes parents Denise (Anne Hathaway) and Greg (Ewan McGregor), teenager Audrey (Maisy Stella), younger son Brian (Christian Convery), and their dog, Starbuck. However, beneath the surface of their idyllic life, cracks begin to show. Greg works a side job delivering pizzas, while Denise secretly writes a novel about a woman contemplating leaving her family. The children sense an impending divorce, a feeling seemingly shared by their parents.
While this setup could lead to a Spielberg-esque sci-fi event, Mitchell, who also penned the script, steers the narrative toward horror, absurdism, and silliness. The film's premise takes a sharp turn when the Platts' suburban neighborhood is transported through time and overrun by primordial beasts, transforming Oak Street into an island in a prehistoric world.
This "Twilight Zone"-esque plot inadvertently offers a solution to a persistent issue in the "Jurassic Park" films: instead of bringing dinosaurs to an off-island setting, "The End of Oak Street" brings the prehistoric world directly into suburbia. Encounters with raptors and other creatures unfold across front porches and within homes.
The film is largely characterized as "good dumb fun," with set pieces designed to elicit anticipation and cheers. However, where it distinguishes itself is in its sincerity towards its characters. Despite the outlandish concept, the Platts remain grounded, with Hathaway's performance being particularly noteworthy. The blend of earnest family drama, CGI-driven hijinks, and increasingly bizarre plotting contributes to the film's energetic and entertaining nature.
Composer Michael Giacchino provides a score that echoes John Williams, but Mitchell's film increasingly deviates from the classic Spielberg formula. The narrative includes moments such as Audrey sneaking into a car to listen to Steve Winwood's "Valerie."
Beneath the surface, the film explores themes of secrecy and fear within families. The rapid invasion of dinosaurs can be seen as a metaphor for ecological disaster, but the family's subsequent challenges highlight their resilience. The parental assurance that "everything's going to be OK" becomes comically questionable as a giant snake slithers through their home.
Overall, "The End of Oak Street" delivers a "gonzo good time," infusing an old-school family adventure with a darker, modern sensibility. Mitchell has established suburbia as his thematic domain, suggesting that further unexpected events are likely to follow.
The film is rated PG-13 by the Motion Picture Association for some strong violent content, bloody images, some strong language, and suggestive material. It has a running time of 99 minutes.