“The End of Oak Street” Review

Year: 2026, Director: David Robert Mitchell

OP-ROB RATING: STARTER

One of the more entertaining theater experiences I’ve had this summer. “Oak Street” has a ludicrous plot: a mid-80s suburban Detroit neighborhood gets hole-punched into prehistoric times via a wormhole, then Anne Hathaway and Ewan McGregor attempt to shepherd their two kids through the ensuing dinosaur-fueled carnage. The gory violence in this movie is genuinely shocking. A small screen will sap some of the best aspects of “Oak Street”, which boasts incredible CGI and voluminous sound design. But the adventure itself has enough thrills to make it worth a streaming view, even if the story crumbles under serious questioning.

“Spider Man: Brand New Day” Review

Year: 2026, Director: Destin Daniel Cretton

OP-ROB RATING: STARTER

Superhero movies must hold up alone, because I’ll be damned if I’m going to binge hours of MCU features to prepare for the latest offering. “Brand New Day” succeeds, I suppose. Tom Holland and Zendaya are two of the most dynamic actors in existence, and it’s hard not to feel engaged when they are on-screen. Spider Man, through his powers, is also imminently entertaining. But the story? Eh. There’s a tepid work-life balance message in “Brand New Day”, which is fine. But much like many of the characters I’ll completely forget about “Brand New Day” by the next Holland-led outing.

“The Invite” Review

Year: 2026, Director: Olivia Wilde

OP-ROB RATING: BENCH

From what I gather, the goal of “The Invite” is to make us feel uncomfortable, and then inspire introspection. The film succeeds in this regard, with excellent acting across the board from Olivia Wilde and Seth Rogen, and Penélope Cruz and Edward Norton as two couples at a dinner party. Perverted secrets and depraved desires are revealed throughout the evening, leading to an awkward crescendo, and culminating in a “heartwarming” moment. As satire, “The Invite” works. But it relies too heavily on the assumption that its audience has the stomach for such deviant themes.

“Something Wild” Review

Year: 1986, Director: Jonathan Demme

OP-ROB RATING: ALL-STAR

What would it take for you to suddenly walk out on your life? For Charlie (Jeff Daniels) in “Something Wild”, it’s a zany woman named “Lulu” played by the seductive Melanie Griffith. This is how the movie begins. A successful NYC investment banker jumps into Lulu’s car after barely an introduction. It’s kind of unbelievable. But as the story unfolds through a succession of quirky scenes with rich character development, we begin to understand Charlie and Lulu, and the initial salaciousness turns to decency. “Something Wild” is a fun counterpoint to 80s grandeur, with top performances from Daniels and Griffith.

“Leaving Las Vegas” Review

Year: 1995, Director: Mike Figgis

OP-ROB RATING: BENCH, RODMAN

In many ways, “Leaving Las Vegas” is an incredible movie. Nic Cage is brilliant as Ben, an alcoholic screenwriter who resettles in a cheap motel in Vegas to drink himself to death. Elizabeth Shue is equally compelling as Sera, the escort that accompanies Ben to his deathbed. There’s an easy Hollywood ending to be had in “Leaving Las Vegas”. Things could have turned out for the better. What makes the film unique is that they don’t; and the result is a story so devastatingly depressing that it cannot warrant recommendation.