Read our Privacy noticeNostalgic pop culture doesn’t need to feel like we’re watching a limp corpse being puppeteered around the room. David Robert Mitchell’s The End of Oak Street reminds us of this, delivering palaeontological chaos of the Spielberg variety. The End of Oak Street is not only better than any of the Jurassic World films, but so much less stiff and fetishistic than the exhaustive line of Eighties “love letters” produced by Stranger Things’s Shawn Levy and his ilk. Yet Mitchell finds clever ways to bend it to his will and modernise a few of the rustier parts. open image in gallery Anne Hathaway in ‘The End of Oak Street’ ( Warner Bros )The End of Oak Street works well as an homage to the films made by Spielberg’s production company Amblin – among them Jurassic Park, ET the Extra-Terrestrial, and Poltergeist – not purely because it’s packed with material reminders of the past, or because Michael Giacchino’s score is essentially “wonderment” refined.