‘The End of Oak Street’ Eyes Solid Box Office Debut as Anne Hathaway’s Summer Continues

Anne Hathaway has quietly turned 2026 into one of the most dominant box office years of her career, headlining hit after hit while barely slowing down between releases. Between “The Odyssey” and “The Devil Wears Prada 2,” she’s already helped push her combined worldwide grosses for the year past $1.6 billion, an extraordinary run for any actress at this stage of a decades-long career.

Her next release trades designer wardrobes and mythological odysseys for something considerably more primal. “The End of Oak Street,” a survival thriller from “It Follows” director David Robert Mitchell, follows a suburban family thrown into prehistoric times after a mysterious cosmic event, pitting them against dinosaurs in a story Warner Bros. is positioning as the last major PG-13 swing of the summer season.

As the film heads toward its release, tracking suggests “The End of Oak Street” is on pace to earn somewhere between $20 million and $30 million during its domestic opening weekend, playing across roughly 3,400 theaters nationwide. That range puts the film in a respectable, if unspectacular, position compared to the outsized openings Hathaway has enjoyed elsewhere this year.

The film carries a reported production budget of $85 million, a considerably larger investment than typical original thrillers receive, especially without a built-in franchise name attached. That financial reality means the film’s fate likely hinges less on opening weekend numbers and more on whether it can sustain strong word of mouth in the weeks that follow.

Fortunately for Warner Bros., reviews have given the film a meaningful head start. “The End of Oak Street” debuted with an 85% score on Rotten Tomatoes, a number that surpasses every “Jurassic Park” sequel ever released and trails only Steven Spielberg’s original 1993 film in the broader dinosaur-movie canon.

That kind of critical reception matters more for an original film than it does for an established franchise entry, since audiences have less built-in reason to show up without strong buzz pushing them toward the theater. With previews starting Thursday and the all-important opening-night CinemaScore landing Friday, the film’s true trajectory should become much clearer within days.

The film also arrives amid the winding-down of J.J. Abrams’ Bad Robot production banner at Warner Bros., with the company’s Los Angeles office reportedly closing and its first-look deal with the studio set to expire by year’s end. That timing has turned “The End of Oak Street” into something of a final test case for the Bad Robot era at the studio, adding an extra layer of industry scrutiny to its performance.

“The End of Oak Street” isn’t debuting into an empty marketplace, either. It opens the same weekend as “Paw Patrol: The Dino Movie,” giving audiences a choice between two very different takes on prehistoric chaos, and against the continued dominance of “Spider-Man: Brand New Day,” which remains the top film in North America even in its third weekend of release.

Whether “The End of Oak Street” can find the kind of staying power needed to justify its budget will likely come down to how well it holds up against those established competitors in the weeks ahead. For Hathaway, though, even a modest opening keeps her remarkable 2026 box office streak firmly intact heading toward her next release, October’s psychological thriller “Verity.”

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