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“The End of Oak Street” pays homage to an era when Hollywood wasn’t afraid to make big movies with cyborg cops, intergalactic soldiers, and colossal creatures.
The movie is something to sip patiently out of a porcelain cup, not 64 ounces of soda to gulp down with popcorn spilling out of an overpriced novelty bucket.
“Backrooms” brings out the buried dread of being unconsciously trapped in an oppressive environment that slowly melts a mind into compliant complacency.
There’s enough to warrant sticking it out to the end, while those with different tastes might be more eager to follow Zach Cregger’s example.