By Thomas M. Puhr
Unshackled from the tedious worldbuilding that has drained the Jurassic Park franchise of anything resembling fun, David Robert Mitchell’s The End of Oak Street—about a family’s fight for survival after their ’80s-era neighborhood is inexplicably transported to the Mesozoic Era—revitalizes the dinosaur subgenre. Mitchell understands that graceful characterization is just as important as pulse-pounding action (a teenage girl singing along to “Valerie” in the family station wagon packs a greater emotional punch than anything in the jingoistic Project Hail Mary). The End of Oak Street is the writer-director’s most confident work yet and the best film of 2026.
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