The End of Oak Street (dir. David Robert Mitchell)

by Jack Martin | Aug 12, 2026

Certificate: 12A

Running Time: 110 mins

UK Distributor: Warner Bros

UK Release Date: 14 August 2026

WHO’S IN THE END OF OAK STREET?

Anne Hathaway, Ewan McGregor, Maisy Stella, Christian Convery, Jordan Alexa Davis, P.J. Byrne, Chris Coy

WHO’S BEHIND THE CAMERA?

David Robert Mitchell (director, writer, producer), J.J. Abrams, Tommy Harper, Matt Jackson and Hannah Minghella (producers), Michael Giacchino (composer), Mike Gioulakis (cinematographer), John Axelrad (editor)

WHAT’S IT ABOUT?

An entire suburban neighbourhood is mysteriously transported to a prehistoric location…

WHAT ARE MY THOUGHTS ON THE END OF OAK STREET?

In 1982, Steven Spielberg produced and co-wrote Poltergeist, a tale of suburban horror with plenty of unnerving encounters and simple but likeable characters, all set to a whimsical (albeit darker than usual) tone that evokes Spielberg’s signature touch. In fact, Spielberg’s heavy involvement on the project has led many to theorise that he may in fact be the true director of the film instead of the credited Tobe Hooper, who at that point was perhaps best known for his gruesome horror breakthrough The Texas Chain Saw Massacre.

History sort-of repeats itself with writer-director David Robert Mitchell’s The End of Oak Street, a movie that is also about unnatural goings-on in suburbia, except with dinosaurs instead of ghosts, as well as the fact that Spielberg is in no way involved with this movie (not officially, anyway). But strangely, much like Poltergeist his presence is felt all throughout the film, since it feels so aesthetically of the director’s calibre in terms of narrative and visuals that it’s genuinely surprising to learn that he had no part in any of it.

But Mitchell, who similar to Hooper is also known for dabbling in full-on horror thanks to It Follows, finds ways of tapping into his most primary influence while also reestablishing his own authorial style. In doing so, he manages to come up with a fun B-movie throwback that is simple, likeable, sometimes terrifying, other times narratively unstable, and even a little emotional on occasion. In other words, it’s classic Spielberg without the Spielberg.

The film is set in 1982 – again in keeping with that Spielberg homage, given it’s the same year that E.T. was released – and takes place in the quaint suburban community of Oak Street. Among the many residents are the Platt family, headed by writer Denise (Anne Hathaway) and her husband Greg (Ewan McGregor), who’s resorted to delivering pizzas after losing his previous job. Because of that, as well as his functioning alcoholism, the couple are continuously quarrelling and possibly on the verge of separation, much to the dismay of their kids Audrey (Maisy Stella) and Brian (Christian Convery).

But the family drama is put on hold when a mysterious flash of light suddenly transports the entire community to a prehistoric landscape, leaving everyone trapped with no electricity, no running water, dwindling resources, and – most concerning of all – hungry dinosaurs lurking around every corner. Needless to say, survival quickly becomes a priority for the family, leaving them to find a way back home while avoiding the creatures that are quick to prey upon their neighbours.

Given that J.J. Abrams is a producer on the film, you half-expect there to be a great big rug-pull of a meticulous explanation as to how this has all happened, or at the very least some kind of twist that gives it all some kind of deeper meaning. But surprisingly, Mitchell’s script isn’t really interested in any of that, casting aside almost right away the big scientific reveal – hint: it’s all scientific mumbo-jumbo courtesy of Carl Sagan – and getting straight to what audiences have come to see: big, scary dinosaurs munching on people left and right, while also just bumming around in the background – in one case quite literally, in one of the most hilarious and surprising sight gags in a major studio movie this year.

Pretty much as soon as these prehistoric creatures enter the picture, The End of Oak Street becomes a straightforward monster movie, one where they can easily sneak up on unsuspecting groups like a background slasher villain, all as Michael Giacchino’s energetic score invokes delivers plenty of intense excitement in the style of John Williams and Alan Silvestri. For the most part, it is fun to simply see dinosaurs being their carnivorous selves, and while the effects aren’t always convincing, they do a good job of making them pretty terrifying with their cold, vacant eyes and even their scientifically accurate feathers giving them a truly monstrous vibe. It’s also enjoyable to see this kind of studio-backed B-movie with a similar directorial approach to It Follows, as Mitchell and cinematographer Mike Gioulakis (both of whom worked together on that film) incorporate a lot of steady camerawork capturing intense scenes from a distance, as well as more split dioptre shots in a single scene than the entirety of a Brian De Palma movie.

All the while, Mitchell embraces that Spielberg influence in not just the carefully shot and choreographed action but also the emotional family dynamics – props, too, to actors like Hathaway for knowing exactly what kind of movie they’re in and treating their rather light characterisation as seriously as something like The Odyssey – while still maintaining his own distinct filmmaking identity. It’s a neat balance of teacher and disciple, for it can be sinister and even surprising like It Follows was but then play into a more schmaltzy side that extends into an ending that, without spoilers, raises certain questions about the mortality of certain characters. Admittedly, that ending does drag it down a few pegs, since it also relies heavily on a plot point that’s too implausible even for a movie about dinosaurs in suburbia, and feels at times like Mitchell wrote himself into a corner when it comes to cleanly resolving the situation.

Luckily, the overall experience itself is fun enough to serve as fine escapism, with Mitchell paying loving homage to the work and style of a filmmaker he clearly grew up watching and admiring. But even though Spielberg’s name is nowhere to be found in the ending credits, his spirit is still very much the star of this enjoyable throwback.

SO, TO SUM UP…

The End of Oak Street sees writer-director David Robert Mitchell embrace his inner Spielberg with a fun B-movie throwback that gets decent mileage out of its simple premise and his stylish execution, even if it ends on a slightly concerning note.