We review “The End of Oak Street”, a film already released in theaters
“The End of Oak Street” It is the most accessible film of David Robert Mitchella filmmaker with a short filmography who returns behind the camera with his fourth film, eight years after directing “What Silver Lake hides”. Previously, Mitchell had broken into the horror genre with “It Follows”his second film, not suitable for all palates, which positioned him as one of the promises of the genre, a label that was diluted over time, especially after this almost decade of absence.
Now he returns with a different proposal, clearly commercial in nature. The key to the change can be found in the film’s producer, J. J Abrams, who seems to have acted as custodian of Spielbergian wisdom – Abrams directed “Super 8”a film directed by Spielberg and whose film-loving protagonist resembled the teenage Spielberg – to offer it to a filmmaker little related to the world of the creator of “Jurassic Park” either “ET”. So, “The End of Oak Street” It connects us to that universe through children on adventure, a discourse about family unity, or even dinosaurs in a story about a quiet neighborhood affected by strange cosmic phenomena.
A brave Anne Hathaway and a close Ewan McGregor play the protagonist’s family’s marriage in crisis: overcoming the conflict in the film will mark the resolution of the marital problems. By the way, McGregor’s presence as a family man reminds us of “Impossible”another adventure of self-improvement led by a strong woman.
Mitchell manages to give distinction to the film with an elegant but elaborate staging and, through a sly script, achieves an enjoyable film, with moments to remember such as a script twist that gives unusual realism to a science fiction story. Furthermore, Mitchell wisely manages tension while knowing how to construct beautiful minimalist moments of family intimacy. And in every record of this “The End of Oak Street” Michael Giacchino’s music shines.
