Anne Hathaway is fully in command of her escalating career; regardless of the role, she adopts it, incorporating with every fiber of her being its nuances, dreams and nightmares. Besides, the power hungry, savvy “Andrea Sachs” in “Devil Wears Prada 2” she soars, stratospherically, in “Mother Mary” as an icon in the musical pop genre, stunningly strict in intelligence, religiosity and psychological hubris.
Director David Robert Mitchell’s “The End of Oak Street” gifts another avenue for Hathaway’s filmic journey; she is a frustrated writer living with her husband (excellent Ewan McGregor) and two children, (Maisy Stella, Christian Convery) in a bucolic, benign suburb with their feisty canine, “Starbuck”, one of the more interesting protagonists; the “Platts” survive a catastrophic, electrifying evening resulting in a mystifying return to an age of dinosaurs. Gruesome and gory, gratuitous violence, cinematographic chicanery seduces viewers; metaphors abound, lessons in love, loss, retribution, acceptance. Superb acting, especially by Hathaway and McGregor lend legitimacy and credence to a preposterous, nebulous, rebarbative scenario.
THREE & ½ STARS !!!
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