The End of Oak Street Review — A Good Movie That Doesn’t Know When to Leave

David Robert Mitchell has always been one of those filmmakers whose work promises something unconventional. Whether you loved “It Follows” or found “Under the Silver Lake” completely bonkers, Mitchell has never shown much interest in creating the safest version of anything. This trend continues with “The End of Oak Street” from Warner Bros. Pictures.

Set in 1982 in Michigan, the movie follows the Platt family: mother Denise Platt (Anne Hathaway), father Greg (Ewan McGregor), and their children, Audrey (Maisy Stella) and Brian (Christian Convery). Their ordinary suburban neighborhood suddenly becomes the backdrop for something extraordinary. I’m keeping the details light because part of the film’s appeal lies in discovering what is really happening.

At first, I was fully engaged. There is something inherently unsettling about taking the most basic aspects of suburban life—houses, lawns, driveways, neighbors—and making them feel utterly meaningless. Mitchell capitalizes on this contrast, and some of the movie’s strongest moments come from letting this family realize that the rules they have always lived by no longer apply.

Anne Hathaway carries much of the emotional weight as Denise. She provides the film with a believable emotional center without turning her character into another stereotypical hysterical horror mother waiting for someone else to solve problems. Ewan McGregor also understands his role well, while the younger cast members manage to avoid becoming annoying plot devices.

For a while, *The End of Oak Street* captivated me. However, it eventually began to repeat itself. My issue isn’t necessarily with the runtime; the film isn’t excessively long. It just feels longer than it actually is because Mitchell occasionally extends scenes well past the point of making his point. There were several moments when I found myself thinking, “Okay, I get it. Let’s move on.”

That’s frustrating because the movie has a strong concept, excellent performances, and enough intriguing ideas that it shouldn’t need to linger as much as it does. Sometimes mystery works because you let the audience ponder something; other times, it feels like you’re simply standing in the same doorway too long. The visual aspects remain impressive, and Mitchell knows how to create unease without relying on cheap jump scares. Additionally, there are enough effective moments in the second half to keep the film from completely losing its grip.

Still, I kept thinking there was a tighter version of “The End of Oak Street” waiting somewhere in the editing room. A few cuts here, some tightening there, and a little more trust in the audience might have elevated the film to solid B territory for me. As it stands, this is a good, ambitious genre film with an intriguing premise that unfortunately doesn’t always recognize when it has overstayed its welcome.

Sometimes, the hardest part of visiting Oak Street is knowing when it’s time to go home.

Final Grade: B-

"The End of Oak Street" is in theaters now.