[NoHo Arts District, CA] – In this week’s movie and TV review blog, Mike Peros reviews The End of Oak Street and Don’t Say Good Luck.
The End of Oak Street
I’ll tell you, it’s a good thing that dinosaurs and humans never interacted in real life because the raptors in The End of Oak Street are among the most unfriendly and nastiest (not to mention peckish) creatures I’ve seen in a while. But I’m getting ahead of myself. The premise of this well-constructed and well-acted science fiction/thriller is that this 1970s suburban neighborhood, after a few warnings, finds itself back in prehistoric times, with dinosaurs on the prowl making meals of all they encounter. The family at the center is led by Anne Hathaway and Ewan McGregor as a couple on the outs (she’s been writing a book inspired by their lives; he is the breadwinner, forced by circumstances to deliver pizzas for their bread and butter). Oh, and they also have two teenage kids (Maisy Stella and Christian Connery) who have issues of their own. So when Oak Street ultimately finds itself elsewhere, the four (and their faithful dog) must band together to protect themselves from these persistent creatures, while figuring out if there’s a way to get back to the present—and safety.
Written and directed by David Robert Mitchell, the film does a good job of establishing the dynamics among the main characters, introducing a few important neighbors, and tossing out little hints about what there is to come. And once the dinosaurs arrive (or the families arrive among the dinosaurs), The End of Oak Street becomes a taut, suspenseful drama with the family battling both the dinosaurs and the possibility of perishing from hunger if they remain barricaded indoors. The “dinosaur stalking” scenes are both technically impressive and emotionally intense—as the central characters come off as recognizably human and worthy of your compassion, thanks to the portrayals of Anne Hathaway and Ewan McGregor. Their dialogue—and the silences—say a lot and keep the viewer engaged. The resolution has come under a little fire, but I found it to be a satisfying finish—and given what we “know” about wormholes, credible within the scope of the film. If you can, see it on a big screen.
Don’t Say Good Luck
Netflix doesn’t give you that much of a big-screen option with Don’t Say Good Luck, but by all means see it on whatever screen you can. This bittersweet, ultimately moving comedy/drama, directed by Julia Hart, from a screenplay by Hart, Laura Hankin, and Jordan Horowitz, stars Sunny Sandler (daughter of Adam, who produced the film) in one of the best performances I’ve seen this year. She plays Sophie, a high school budding thespian who is cast (surprisingly, to her) as the lead in the musical Waitress; at the same time her supportive mother (Melanie Lynskey) discovers that her cancer has returned—and will likely prove fatal. Sophie, with her mother’s encouragement (she has chosen to keep the diagnosis between herself and Sophie’s father) stays with the show. And then there are all the little dramas that can occur when rehearsing a musical. (Full disclosure, as someone who had directed his share of shows, many of these elements were entirely believable.) When the Mom becomes weaker, the grandparents (Steve Buscemi and Bebe Neuwirth) are summoned, and that presents drama of its own. And then there’s Sophie’s relationship with her best friend Carolyn (Scarlett Estevez), which is tested in the aftermath of Sophie’s casting.
Don’t Say Good Luck is what might be considered a “small film,” but it is big in everything that counts. The movie is filled with recognizable moments and emotions, realistic, sympathetic characters who occasionally blunder and lash out, and an effective juxtaposition of comic situations and some very poignant moments. (The Mother’s Day scene at the family deli is a highlight—and indicative of the film’s mastery of tone.) The film is superbly cast, with several fine contributions (among them Jon Lovitz, Stephanie Beatriz, Bebe Neuwirth, and Steve Buscemi—who I wish could have been used more). Melanie Lynskey and Max Greenfield are both winning and heartbreaking as the mother and father, while Sunny Sandler is simply tremendous. As an actor, she deftly navigates all the pressures that Sophie is under (including her misgivings when things are revealed to her), often with a refreshing edge and a great deal of compassion. In addition…Sunny/Sophie can sing, and the film’s final section is extremely moving. Don’t Say Good Luck is such a lovely, beautifully made film. It’s well worth your time.