The End of Oak Street opened with $2.5 million in Thursday night U.S. previews, giving Warner Bros and Bad Robot an early box-office marker before the film’s broader weekend launch. The PG-13 release, directed, written and produced by David Robert Mitchell, is expected to be one of the weekend’s bigger commercial tests.
The preview total came after estimates had pointed to about $2 million-plus before showtimes began at 1 p.m. across 3,200 U.S. sites, which makes the final preview number a little stronger than the earliest read. The film’s running global tally was $6.5 million by Friday morning, and its worldwide outlook stood between $38 million and $48 million.
That matters because the movie is not just opening in the U.S. It was also scheduled to roll out in France, Germany, Australia, Brazil, Mexico, Spain, the UK, China and Japan at 24,000 screens, with key openings in Italy and France adding to the international push. The domestic outlook was set between $18 million and $23 million, while foreign play was estimated at $20 million to $25 million across 74 territories.
Mitchell’s film, which stars Anne Hathaway and Ewan McGregor, follows a neighborhood that suddenly finds itself next door to a prehistoric jungle where dinosaurs become worse intruders than the neighbor’s dog. It also arrives with a reported net production cost ranging from $80 million to $92 million, a wide span that underscores how much more than a modest genre title this release has become. Rotten Tomatoes critics were at 85% certified fresh, and tracking said women were the most notable audience group.
There is still a gap between a $2.5 million start and the weekend range the film needs to hit. The preview take is a solid opening step, but the real test is whether that number holds through Friday and Saturday enough to land inside the projected domestic band.
For now, The End of Oak Street has given Warner Bros and Bad Robot a start that is better than the softer early preview talk suggested. What comes next is the weekend number, and whether Mitchell’s film turns a Thursday-night lift into the kind of opening that matches its cost and global reach.
