The end of Oak Street begins with a sunny day of celebration, games, and quintessentially American neighborhood barbecues. An idyllic scene that all viewers will be wary of, either because they know David Robert Mitchell's previous filmography – in particular, the essential text for contemporary horror that is It follows– and they know that the filmmaker has a tendency to touch a raw nerve regarding suburban unease. Or, simply, because they have seen some of the film's posters, where a family flees from the sharp jaws of what appears to be a dinosaur. Whatever expectations one enters to see it with, the film satisfies, and modulates the horizontal pulse with which Robert Mitchell usually tightens the scope in order to bring it closer to the codes of a Hollywood entertainment that the director hesitates whether to challenge or revere.