The End of Oak Street Review: Anne Hathaway and Ewan McGregor in Ersatz ’80s Amblin Nostalgia That’s Fun as Far as High-End Trash Goes

The latest release from David Robert Mitchell, The End of Oak Street, is a curious creature - part nostalgic homage to 1980s Amblin, part mindless blockbuster. The film’s makers seem uncertain whether they’re aiming for family-friendly entertainment or attempting to recapture the spirit of classic Spielbergian adventure films.

Mitchell’s decision to set his story in 1982 is more than just a nostalgic exercise - it’s also an attempt to tap into our collective nostalgia for a bygone era of filmmaking. The Amblin era, particularly Steven Spielberg’s films from the 1970s and 80s, were known for their blend of action, adventure, and coming-of-age themes. Mitchell’s film is clearly trying to recapture that magic, but it does so in a way that feels both shallow and self-aware.

The use of practical effects to bring prehistoric creatures to life is one of the more interesting aspects of The End of Oak Street. Watching these beasts wreak havoc on a modern suburban cul-de-sac is indeed “fun as far as high-end trash goes,” as one critic noted. However, this approach raises questions about the film’s tone and intentions: Is Mitchell trying to create a sense of wonder and awe, or is he simply content with delivering cheap thrills?

Anne Hathaway shines in The End of Oak Street as Denise Platt, the harried housewife who finds herself at the center of the chaos. Her character’s deadpan humor and exasperation are perfectly captured, making her one of the few relatable characters in an otherwise absurd story.

In contrast, Ewan McGregor struggles to find his footing as Denise’s husband Greg. His American accent falters, and his performance feels wooden and uninspired. While it’s easy to sympathize with his character’s misfortunes, McGregor’s inability to bring any real depth or emotion to the role makes him feel more like a prop than a fully fleshed-out character.

Mitchell’s decision to set the story in 1982, complete with period-specific music and references, feels like an attempt to create a sense of timelessness and universality. However, this approach also raises questions about the film’s ability to engage with contemporary themes or issues.

The End of Oak Street’s struggles to find its tone and intentions are reminiscent of other recent films that have attempted to recapture the magic of classic cinema, such as J.J. Abrams’ Super 8 (2011). Like Mitchell’s film, Super 8 was an homage to the Amblin era but struggled to find its own unique voice and perspective.

As we watch The End of Oak Street stumble through its chaotic narrative, it’s hard not to wonder what could have been if Mitchell had taken a more confident approach. With a stronger script and more consistent performances from its cast, this film could have been something truly special. As it stands, however, The End of Oak Street feels like a frantic attempt to recapture the past rather than forge a new path forward.

Despite its flaws, The End of Oak Street has moments that are worth watching - and audiences may respond to them in the same way they did with Super 8 or It Follows (2014), Mitchell’s breakthrough hit. However, the film ultimately feels stuck between two eras: the past, with its fond memories of classic cinema, and the present, where audiences demand more from their blockbusters.

As we wait to see how this messy exercise in nostalgia fares at the box office, one thing is clear - David Robert Mitchell still has a lot to learn about his place in the world of contemporary filmmaking.