The End of Oak Street, directed by David Robert Mitchell, is a unique blend of family drama and prehistoric chaos. Set in 1982, the film follows the Platt family as they navigate the challenges of suburban life, only to find themselves transported back to the Mesozoic era where they must survive amidst dinosaurs and other prehistoric creatures.
The film opens with a vibrant suburban block party in Flowervale, Michigan, where the styles and aesthetics of the ’70s still reign supreme. The Platt family, consisting of Greg (Ewan McGregor), Denise (Anne Hathaway), Audrey (Maisy Stella), and Brian (Christian Convery), is dealing with typical suburban issues—marital woes, teenage crushes, and bullying. However, their lives take a dramatic turn when their neighborhood is inexplicably transported to the Jurassic period.
The Platt Family’s Prehistoric Predicament
The Platt family’s suburban life is abruptly disrupted when their neighborhood is transported to the Mesozoic era. The film’s opening sequence is a rollercoaster of excitement, with Michael Giacchino’s heavyweight score setting the tone for the chaos that ensues. The family must quickly adapt to their new surroundings, where survival becomes the top priority.
The film’s VFX are stunning, bringing to life a variety of dinosaurs, from feathered, winged raptors to Galapagan, Bowser-shelled turtles. The prehistoric jungle is a stark contrast to the suburban setting, creating a sense of disbelief and wonder. The family’s initial escape attempt is a nonstop chase filled with blockbuster excitement and gruesome-yet-comedic kills.
Character Depth in the Shadow of Action
While the action sequences are thrilling, the film’s character development is somewhat lacking. The Platt family’s personal issues take a backseat to the survival narrative, leaving little room for depth. However, the film’s thematic depth shines through in its exploration of suburban life and the existential despair that comes with it.
The film’s metaphor for being stuck in the suburbs is a powerful one. The banal pattern of life that bred dishonesty and malaise among the Platts has taken on a physical form that forces them out of it. This theme is wisely portrayed with stakes that even those who love the suburbs can relate to. The setting also serves as a humorous yet poignant commentary on the love for our pets, rain or shine.
Mitchell’s Directorial Flair
David Robert Mitchell brings his unique directorial flair to The End of Oak Street. The film feels like a blend of Amblin and J.J. Abrams’ styles, with Mitchell adding his personal touch. The pervasive grim tone and bleak humor are reminiscent of his previous works, It Follows and Under the Silver Lake.
The film’s aesthetic is pleasing, with regular DP Mike Gioulakis helming the visuals. The use of split-diopter shots adds a personal touch, and the VFX shine in the Jurassic Park-worthy sequences. However, the live-action footage captured on camera is somewhat standard.
The End of Oak Street is a fun, funny, and relatively forgettable film. It raises questions about Mitchell’s future projects and whether he will return to his unique style. For now, it serves as an amusing yet fleeting restart for the director.
