--- title: "The End of Oak Street" year: 2026 kind: "film" canonical: "https://film.one/film/the-end-of-oak-street" fi1m_id: "the-end-of-oak-street" imdb_id: "tt27165187" tmdb_id: 1101383 wikidata_id: "Q124804916" fi1m_score: 66 critics_score: 69 critics_reviews: 20 published: "2026-09-09" updated: "2026-09-18T08:37:41.574887+00:00" region: "SA" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # The End of Oak Street (2026) Directed by David Robert Mitchell · 1h 40m · Science Fiction, Mystery, Thriller ## Identity The End of Oak Street - **Canonical:** https://film.one/film/the-end-of-oak-street - **Type:** Film - **Fi1m ID:** the-end-of-oak-street - **IMDb ID:** tt27165187 - **TMDB ID:** 1101383 - **Wikidata ID:** Q124804916 - **Same entity:** https://www.imdb.com/title/tt27165187/, https://www.themoviedb.org/movie/1101383, https://www.wikidata.org/wiki/Q124804916 **Fi1m score: 66** · Critics 69 from 20 reviews *In a sentence:* Spielberg’s lawns, Mitchell’s dread, and the dinosaurs are the only ones on the street who know what they want > David Robert Mitchell’s dinosaurs-in-suburbia picture is brisk, handsome and often frightening, and Anne Hathaway carries it. The family drama it keeps setting up is never played out, and the ending steps back from the darker film it had been promising. ## Synopsis Oak Street is an ordinary stretch of 1980s American suburbia, and the Platts live at the end of it. Denise (Anne Hathaway) and Greg (Ewan McGregor) are a marriage under strain; their children Audrey (Maisy Stella) and Brian (Christian Convery) have noticed. Then the street, houses and lawns and all, is somewhere it should not be. Beyond the last fence the world is prehistoric, and what lives out there is hungry and has found the neighbourhood. With neighbours including Mel Jacobs (P.J. Byrne), Mary Bagrowski (Bethany Anne Lind) and Mrs Valcour (Emily Kuroda), the family has to work out what has happened, how far it goes, and how to stay alive until they do. David Robert Mitchell writes and directs. ## Review David Robert Mitchell has made a Spielberg film, and he knows it. *The End of Oak Street* takes a 1980s American street, the Platt family at the end of it, and drops the lot into a prehistoric world where the lawns stop at a treeline full of dinosaurs. The tagline, “Where goes the neighborhood”, is the whole pitch. It is a monster film in a housing estate, it runs a tidy 100 minutes, and for long stretches it does exactly what it says it will. Where it falls short is the family, which matters, because the family is what Mitchell asks us to care about. Mike Gioulakis, who shot *It Follows* for Mitchell, lights the street in flat, warm afternoon sun that does not change when the world does, so the houses look ordinary and the thing coming across the grass does not. Maya Shimoguchi builds a street of driveways, screen doors and cluttered garages that the film then takes apart room by room. Erin Benach’s costumes get the period right without winking at it. The creatures are good, properly heavy, and Mitchell stages the attacks with the patience he brought to his horror work, letting a shape sit at the edge of the frame for longer than is comfortable before anyone in the scene turns round. Hathaway is the reason to go. Denise Platt begins as a woman holding a household together by force of will, and once the animals arrive she becomes something fast, dirty and unglamorous, and the film is at its best when it simply follows her. Maisy Stella gives Audrey a sullen intelligence the script rewards more than it rewards anyone else. McGregor has the harder job: Greg is written as the weak point in the marriage and the film never decides whether it likes him, so neither does he. Christian Convery, as Brian, is asked mainly to be in danger, and is. Michael Giacchino’s score is the film’s most open act of homage, brass and strings that could have been written in 1982, and it is mixed to be enjoyed rather than to drown anything, which we were grateful for. John Axelrad cuts the attacks cleanly, always telling us where the door is and how far away the animal is, which is more than most creature films bother with. He is less sure in the kitchen. The domestic scenes come in the same length and rhythm whether the subject is the mortgage or the thing in the garden, and after a while they blur. We should say what it did to us. The first time a house on Oak Street comes apart we were properly frightened, the good kind of fright a 12A rarely allows. There is one death in the middle we will not describe that is so strange and so nasty we laughed, then felt slightly ashamed of ourselves. By the fourth or fifth encounter we had noticed the pattern: someone leaves shelter, something arrives, someone is pulled back at the last second. The fear did not survive the repetition, and the film seemed not to notice it had gone. The larger trouble is the Platts. Mitchell sets up a marriage in real difficulty, two children who have noticed, a street of small resentments between neighbours, and then uses almost none of it. The dinosaurs do not test these people; they interrupt them. Every argument is cut short by a roar, and by the end the roars have done the work the arguing was meant to do, which saves the script the trouble. The last twenty minutes step back from the darker film Mitchell had been hinting at, and we came out irritated, not because the ending is bad but because a braver one was plainly available. *It Follows* (2014) had one idea and never let go of it. *Under the Silver Lake* (2018) had a hundred and lost most of them. This sits between the two: a good premise, a better lead, and a script that has seen [*Jurassic Park*](https://film.one/film/jurassic-park) and *Close Encounters of the Third Kind* and cannot decide which one it is remaking. See it in a cinema, where the animals are the size they should be and the sound does the frightening. Take anyone over twelve; the dinosaurs will hold them and the marriage will not detain them. It opened in UK cinemas on 14 August 2026 and runs 100 minutes. *Fi1m score 66, published 9 September 2026.* ## What the critics say Most critics like The End of Oak Street, though the spread is wide, running from outright raves to two firm dismissals. The praise gathers around the dinosaur set-pieces and creature effects, which several reviews rate above the recent Jurassic entries, and around Anne Hathaway, singled out in nearly every review as the film’s anchor; Ewan McGregor divides them more. The Spielberg and Amblin homage is the point of contention. For the majority it is affectionate and given a darker edge by Mitchell; for a sizeable minority it is the problem. The Los Angeles Times calls it Spielberg cosplay, The New Yorker finds the homage sits uneasily with Mitchell’s detachment, and The Guardian and The Wrap go further, finding it inert and toothless respectively, with little real jeopardy and a family drama that wastes its own set-up. Even admirers concede thin characters, repetitive encounters and a premise that does not survive much scrutiny. ## Straight answers **Is The End of Oak Street worth watching?** *The End of Oak Street* is worth watching for anyone who wants a brisk, handsome monster film with a strong lead, and we scored it 66. Anne Hathaway carries it and the early attacks are properly frightening, but the marriage at its centre is set up and never played out. See it in a cinema if you can. **How long is The End of Oak Street, and what is it rated?** *The End of Oak Street* runs 1h 40m. It is a science fiction and mystery film. **Where can I watch The End of Oak Street in Saudi Arabia?** *The End of Oak Street* is not on any streaming or rental service in Saudi Arabia at the moment. It is available in 24 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is The End of Oak Street, and is it suitable for children?** *The End of Oak Street* is a 12A and earns the certificate: the early dinosaur attacks are frightening, and one death in the middle is strange and nasty enough to unsettle. It is fine for anyone over twelve; younger or more nervous children may find the sequences where a shape waits at the edge of the frame too much. **How does The End of Oak Street compare to Jurassic Park?** *The End of Oak Street* borrows openly from [*Jurassic Park*](https://film.one/film/jurassic-park), and the earlier film remains the better one, because it gets the animals right and makes us want to stand and stare at them. Mitchell's picture has the stronger lead performance and a more patient, horror-bred sense of dread, but its fear fades with repetition and its family drama goes nowhere. **What should I watch after The End of Oak Street?** After *The End of Oak Street*, try [*Jurassic Park*](https://film.one/film/jurassic-park) (1993, Fi1m 91): The film this one keeps glancing at, and still the one that gets the animals right. Then [*Attack the Block*](https://film.one/film/attack-the-block) (2011, Fi1m 84): Monsters on a south London estate, with sharper people and a tighter running time; and [*Poltergeist*](https://film.one/film/poltergeist) (1982, Fi1m 84): The suburban house that turns on its owners, from the decade Mitchell is borrowing. ### Reviews we read (28) - **Vulture** (90/100, inferred): The critic finds it an audacious good time that slams Jurassic Park into Close Encounters, better than expected Spielberg pastiche with infectious glee in the carnage and nostalgic Americana commentary. [Read](https://www.vulture.com/article/review-i-cant-believe-the-end-of-oak-street-exists.html) - **Empire**, John Nugent (80/100, inferred): The critic praises the film as a summer blockbuster that wholeheartedly embraces its big, brash genre pleasures and largely out-dinos recent Jurassic entries with tense set-pieces and handsome mounting. They single out the convincing character work on suburban family anxiety as what makes the outlandish premise a delight. [Read](https://www.empireonline.com/movies/reviews/the-end-of-oak-street/) - **Radio Times**, Rosie Fletcher (4/5): The review describes it as a loving Spielberg homage that works well as a moving, funny and thrilling family romp with a dark heart, crediting Mitchell for a fresh take on the sub-genre. [Read](https://www.radiotimes.com/movies/scifi/the-end-of-oak-street-review/) - **The Telegraph** (80/100, inferred): The critic calls the film a heartfelt and boisterous homage to Spielberg, praising the nostalgic adventure and performances by Anne Hathaway and Ewan McGregor as endearing parents in a dinosaur-filled suburban setting. They single out the fun of watching the stars chased by prehistoric monsters. [Read](https://www.telegraph.co.uk/films/2026/08/12/the-end-of-oak-street-review-anne-hathaway/) - **Time Out**, Dan Jolin (4/5): The critic praises the fresh spin on dinosaur carnage in a suburban time-warp setting, highlighting the gripping survival thriller elements and strong performances despite some plot holes. [Read](https://www.timeout.com/movies/the-end-of-oak-street-review-2026) - **Variety**, Owen Gleiberman (80/100, inferred): Celebrates the shamelessly fun, preposterous last-gasp-of-summer trash as a loopier Jurassic knockoff that succeeds by leaning into pandering with B-movie humanity and vivid performances. [Read](https://variety.com/2026/film/reviews/the-end-of-oak-street-review-anne-hathaway-ewan-mcgregor-1236831473/) - **The New York Times**, Elisabeth Vincentelli (75/100, inferred): The critic praises the film's sui generis oddness and distinctive collision of styles, noting it undermines the formula while delivering dinosaur havoc in suburbia. Singles out the surreal atmosphere and Bosch-like visions. [Read](https://www.nytimes.com/2026/08/13/movies/the-end-of-oak-street-review.html) - **The Observer**, Wendy Ide (70/100, inferred): The critic notes the film's premise lacks scientific credibility and should not work, yet praises its preposterous dino carnage and entertaining Spielbergian adventure despite the flaws. They highlight the enjoyment of the high-concept family spectacle with Anne Hathaway and Ewan McGregor. [Read](https://observer.co.uk/culture/film/article/wendy-ides-pick-of-the-other-films-the-end-of-oak-street-lady-sunny-dancer) - **The AV Club**, Jacob Oller (C+): The critic describes it as a pulpy dinosaur survival film that is dimwitted and repetitive but invigorating as a studio creature feature; praises the dinosaurs and Hathaway while noting it lacks tension and characters. [Read](https://www.avclub.com/the-end-of-oak-street-review) - **Little White Lies**, Anton Bitel (4/3/3): The review calls it a derivative but enjoyable suburban SF pastiche more Spielbergian than Mitchellian, praising its blend of personal and political elements in a dinosaur-threatened suburbia. [Read](https://lwlies.com/reviews/the-end-of-oak-street) - **The New Yorker**, Justin Chang (60/100, inferred): Praises Hathaway's feral, versatile performance in action but faults the film's alienated tone, lack of emotional depth, and uneasy mix of Spielberg homage with Mitchell's signature detachment. [Read](https://www.newyorker.com/culture/the-current-cinema/the-end-of-oak-street-is-a-weirdly-alienated-jurassic-lark) - **Los Angeles Times**, Amy Nicholson (50/100, inferred): Calls the film stale '80s Spielberg cosplay and karaoke, with too much self-conscious thievery, but notes some silly goodwill, monster attacks, and strong work from Hathaway and Stella. [Read](https://www.latimes.com/entertainment-arts/movies/story/2026-08-12/end-of-oak-street-review-anne-hathaway-ewan-mcgregor-maisy-stella-david-robert-mitchell) - **The Guardian** (30/100, inferred): The critic finds the film contrived, derivative and inert, a commercially driven Spielbergian pastiche about dinosaurs in suburbia that lacks real ambition or jeopardy. They single out a moment of dinosaur romance as the sole point of interest amid otherwise unconvincing domestic drama. [Read](https://www.theguardian.com/film/2026/aug/12/the-end-of-oak-street-review-suburban-dino-survival-romp-is-more-turkey-than-t-rex) - **Financial Times** (★★★★☆): The critic describes it as a superior monster flick and pleasingly curious blockbuster that is slyly clever, with Mitchell pushing Spielbergian buttons while delivering a dinosaur picture set in 1980s suburbia. They single out the brisk Twilight Zone-style logic and the cast's performances amid the chaos. [Read](https://www.ft.com/content/8f60f1bd-995a-41b2-bc72-4336fdfe3782) - **IndieWire**, David Ehrlich: The critic calls it the biggest surprise of the summer and the best dinosaur movie since 1993, a wildly crowd-pleasing Amblin throwback with suburban idyll spirited back to the Jurassic era. [Read](https://www.indiewire.com/criticism/movies/the-end-of-oak-street-dinosaur-movie-review-1235210068/) - **Screen Daily**: The critic notes Mitchell's high-concept premise executed as a fun, fast-paced, family-friendly creature feature that draws effectively on classic Spielbergian adventures with well-cast leads. [Read](https://www.screendaily.com/reviews/the-end-of-oak-street-review-anne-hathaway-and-ewan-mcgregor-face-a-prehistoric-threat-in-fun-fast-paced-creature-feature/5219301.article) - **Sight and Sound**, Kim Newman: The critic finds the film a tense, trope-breaking sci-fi romp that feels Spielbergian but subverts expectations through its focus on family dynamics and existential themes amid dinosaur attacks. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/end-oak-street-gripping-dino-survival-film-feels-spielbergian-plays-against-expectations) - **The Hollywood Reporter**, David Rooney: The critic finds it mindlessly entertaining high-end trash, a fun but inconsistent homage to 80s Amblin films with good dinosaur effects but weak performances especially McGregor; praises Hathaway and the creature work. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/the-end-of-oak-street-review-anne-hathaway-ewan-mcgregor-1236671653/) - **Deadline**, Pete Hammond (80/100, inferred): The critic praises the film's relentless action and monster mayhem as a fun, jaw-dropping B-movie ride that delivers thrills despite cheesy dialogue. They single out the sheer chutzpah and visual effects for praise. [Read](https://deadline.com/2026/08/the-end-of-oak-street-review-anne-hathaway-ewan-mcgregor-1237031428/) - **Film Stories**, Ryan Lambie (4/5): The critic praises the film's Amblin-style adventure with heart and creative vim, noting Mitchell's style shines through in vicious dinosaur action and character focus, despite Spielberg influences. They single out the score and the ordinary, captivating family for praise. [Read](https://filmstories.co.uk/reviews/the-end-of-oak-street-review-screeching-sauropods-spend-summer-in-suburbia/) - **HeyUGuys**, Linda Marric (4/5): The review highlights the film's satirical take on survival genres, its fearless absurdity, strong performances especially from Hathaway and McGregor, and precise 1980s period detail. It singles out the humor and commitment to its peculiar logic for praise. [Read](https://www.heyuguys.com/the-end-of-oak-street-review/) - **The Playlist**, Marshall Shaffer (B): The critic finds it a demented and delightful romp that's good enough to wish it better, praising the visual storytelling, cast (esp. Hathaway), and tonal shifts, but noting it doesn't advance the genre much. Singles out the demented death scene and visual ingenuity. [Read](https://theplaylist.net/the-end-of-oak-street-review-david-robert-mitchell-anne-hathaway-20260812/) - **The Ringer**, Adam Nayman (65/100, inferred): The critic calls it a swift, satisfying fight-or-flight suspense entertainment with visceral kicks, strong performances, and well-executed set pieces, but notes repetitive encounters and an unsatisfying conclusion that pulls back from its darker potential. [Read](https://www.theringer.com/2026/08/14/movies/the-end-of-oak-street-review-dinosaurs-anne-hathaway-ewan-mcgregor) - **Digital Spy**, Ian Sandwell (3/5): The film starts as an undercooked family drama reliant on clichés and lacking emotional depth, but is ultimately saved by its increasingly ridiculous and wild final act with strong set pieces and dino action. [Read](https://www.digitalspy.com/movies/a73391759/end-of-oak-street-review/) - **The Wrap** (30/100, inferred): The critic finds the film toothless and lacking depth, criticizing its abandonment of thematic potential in favor of generic family redemption and superficial dinosaur action. They single out the waste of interpersonal conflict setup for complaint. [Read](https://www.thewrap.com/creative-content/movies/the-end-of-oak-street-review-anne-hathaway-ewan-mcgregor/) - **Collider**, Victoria Luxford: The critic praises the film as an action-packed Amblin-style throwback with strong lead performances from Anne Hathaway and Ewan McGregor, effective dinosaur set pieces, and edge-of-your-seat entertainment value despite some logical leaps in the sci-fi premise. [Read](https://collider.com/end-of-oak-street-review-anne-hathaway-ewan-mcgregor/) - **Den of Geek**, Kirsten Howard (4 out of 5): The critic calls it the best dinosaur movie in decades for its charming old-school Amblin/Spielberg vibes, suburban setting, and effective tension with impressive effects and a playful yet scary approach to the creatures. [Read](https://www.denofgeek.com/movies/the-end-of-oak-street-review-dinosaur-movie/) - **Polygon**, Jake Kleinman: The critic hails it as a fun, spectacular Jurassic Park-style romp that captures classic Amblin magic through inventive dinosaur designs and thrilling suburban survival sequences, succeeding where recent Spielberg efforts fall short despite thinner character work. [Read](https://www.polygon.com/the-end-of-oak-street-review/) ## Details - **Director:** David Robert Mitchell - **Director:** David Robert Mitchell - **Writer:** David Robert Mitchell - **Cinematography:** Mike Gioulakis - **Editor:** John Axelrad - **Music:** Michael Giacchino - **Production design:** Maya Shimoguchi - **Costume design:** Erin Benach - **Producer:** Hannah Minghella, Matt Jackson, David Robert Mitchell - **Cast:** Anne Hathaway as Denise Platt; Ewan McGregor as Greg Platt; Maisy Stella as Audrey Platt; Christian Convery as Brian Platt; Jordan Alexa Davis as Jeannette Christiansen; P.J. Byrne as Mel Jacobs; Bethany Anne Lind as Mary Bagrowski; Emily Kuroda as Mrs. Valcour - **Runtime:** 1h 40m - **First release (France):** 6 August 2026 - **Genres:** Science Fiction, Mystery, Thriller - **Budget:** $80 million - **Box office:** $115 million - **Trailer:** https://www.youtube.com/watch?v=u4tgctWuHc0 ## Where to watch in Saudi Arabia Not streaming, renting or buying in Saudi Arabia at the last check. Also available in: AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, ES, FI, FR, GB, IE, IT, MX, NL, NO, NZ, PL, PT, SE, US. Add `?region=XX` to this URL for another country. ## If you liked this - *Jurassic Park* (1993), Fi1m 91: The film this one keeps glancing at, and still the one that gets the animals right. — [Fi1m page](https://film.one/film/jurassic-park.md) - *Attack the Block* (2011), Fi1m 84: Monsters on a south London estate, with sharper people and a tighter running time. — [Fi1m page](https://film.one/film/attack-the-block.md) - *The Host* (2006): Bong Joon-ho’s river creature and a squabbling family who are the real point of the film. - *Poltergeist* (1982), Fi1m 84: The suburban house that turns on its owners, from the decade Mitchell is borrowing. — [Fi1m page](https://film.one/film/poltergeist.md) - *It Follows* (2014), Fi1m 84: Mitchell and Gioulakis with one idea, one street, and no need for dinosaurs. — [Fi1m page](https://film.one/film/it-follows.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-end-of-oak-street