What To Watch This Weekend: 'The End Of Oak Street,' 'PAW Patrol: Dino,' 'The Rivals Of Amziah King' And More

HOLLYWOOD, CA — This weekend’s watchlist swings from dinosaur mayhem to outlaw intrigue, with a few sharp detours into heroics and ambition.

Front and center is “The End of Oak Street,” a wild collision of suburbia and Cretaceous chaos that turns family tension into survival strategy. “The Rivals of Amziah King” brings a simmering Appalachian noir, where every quiet gesture hides a deeper threat. For pure fun, “PAW Patrol: The Dino Movie” sends the pups into a prehistoric rescue spree filled with color, speed, and kid‑sized stakes.

Meanwhile, “Tony” and “Reacher” Season 4 deliver two flavors of grit — one grounded, one explosive — and “My Brilliant Career” Season 1 follows a young woman determined to write her own future, no matter who tries to stop her.

Ready to dive in? Scroll down for the full lineup, with deeper explorations below that unpack performances, themes and craft in greater detail.

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What To Watch This Weekend

“The End of Oak Street”

Anne Hathaway, Ewan McGregor; directed by David Robert Mitchell

David Robert Mitchell’s “The End of Oak Street” rips a suburban street out of time and hurls it into a Cretaceous nightmare, where predators stalk and domestic fractures snap into focus. Mitchell weaponizes the collision between the extraordinary and the everyday, using cosmic upheaval to drag suppressed truths to the surface and make the illusions of ordinary life impossible to maintain.

The film opens inside the Platts’ picture‑perfect suburban routine, where Denise (Anne Hathaway) and Greg (Ewan McGregor) are already straining to hold their family together. Their kids, Audrey (Maisy Stella) and Brian (Christian Convery), feel the tension even before the rupture arrives — a sudden wrenching of their entire street into a prehistoric landscape, each danger and rescue beat pulling their underlying tensions into view. Hathaway, McGregor, Stella, and Convery chart those shifts with clarity, their performances sharpening as their world buckles.

If the film stumbles, it’s in moments when tonal whiplash feels more like a stylistic wink than a genuine rupture. But for all its brief recalibrations, these flashes don’t break the spell. The result is a striking, uneven, and often exhilarating suburban nightmare — conceptually bold, emotionally sharp, and just unstable enough to leave a mark.

The Rivals of Amziah King

Matthew McConaughey, Angelina Lookingglass; directed by Andrew Patterson

Andrew Patterson’s “The Rivals of Amziah King” unfolds as a sprawling, genre‑blending Southern crime fable, mixing mystery, dark comedy, revenge, and heist‑thriller elements into one unruly package. The film centers on Amziah King, a rural Oklahoma beekeeper and folk‑rock musician whose calm, charismatic presence steadies a tight‑knit community even as trouble begins to ripple through it. McConaughey plays him in a heightened, preacher‑like mode — charming, philosophical, and quietly magnetic — giving the film its gravitational pull.

The story shifts when Amziah reconnects with Kateri, his former foster daughter, played by newcomer Angelina Lookingglass. Midway through the film, she effectively takes over the narrative, delivering a striking debut that deepens the emotional stakes and reshapes the film’s momentum. Their relationship unfolds against escalating danger, community tensions, and a series of wild tonal swings that Patterson embraces with confidence and ambition.

Beneath the genre clutter, the film ultimately becomes a tale about community, shared values, and the fragile work of holding people together. Its excesses — the overstuffed structure, the stylistic flourishes, the chaotic mix of tones — are inseparable from its charm, resulting in a messy, inventive, and unexpectedly warm Oklahoma-rooted epic.

PAW Patrol: The Dino Movie

Lyon Daniels, Kingsley Marshall, Hayden Chemberlen; directed by Cal Brunker

After a sudden storm knocks their ship off course, the PAW Patrol pups crash‑land on an uncharted tropical island teeming with dinosaurs. The detour brings them face‑to‑face with Rex, a paraplegic pup who has survived there for years and become an expert in all things dino‑related. His presence adds a new emotional dimension to the team, especially as Marshall steps into a larger role, confronting his own clumsiness and self‑doubt while trying to prove he’s capable when it counts.

Trouble arrives when Mayor Humdinger begins recklessly mining the island, triggering volcanic instability and threatening the ecosystem. The pups are pushed into a series of high‑stakes rescues that are bigger and more demanding than anything they’ve faced before.

The film moves with bright, energetic pacing, leaning into colorful animation, gentle humor, and straightforward emotional beats. It delivers sincere lessons about perseverance, teamwork, and embracing what makes you different, all wrapped in a warm, kid‑centered adventure. While some elements feel thin or overly commercial for adults, the story’s heart and lively spirit keep it steady — a cheerful island romp built to delight the young viewers who live inside its emotional logic.

“Tony”

Dominic Sessa, Antonio Banderas; directed by Matt Johnson

“Tony” revisits the summer of 1975, when a young Anthony Bourdain drifts into a Cape Cod kitchen and finds the first real shape of his life. Matt Johnson keeps the film intimate and human‑scaled, focusing on the small collisions — ego, appetite, insecurity, curiosity — that define a teenager trying to outrun his own uncertainty. The film doesn’t attempt a sweeping biography; instead, it captures a narrow, bittersweet slice of youth, where each shift in mood feels like a step toward the person he’ll eventually become.

Dominic Sessa gives the film its spine, playing Tony with a mix of raw potential, sadness, sensitivity, and flickers of bravado that never quite settle. He threads vulnerability through the character’s restless swagger, making Tony feel both self‑mythologizing and strangely unformed.

Antonio Banderas brings warmth and volatility to the chef who becomes Tony’s mentor, shaping their scenes with a generous, lived‑in authority that turns each lesson — culinary or otherwise — into something quietly transformative.

Johnson’s direction stays spry and lightly textured, letting the story unfold with an easy rhythm. “Tony” ultimately lands as a slender but charming portrait — sweet‑and‑tart, idiosyncratic, and compulsively watchable.

“Reacher” Season 4

Alan Ritchson, Maria Sten, Sydelle Noel, Christopher Marquette; created by Nick Santora

Season 4 opens with Reacher witnessing a distraught woman’s suicide on a subway, a moment that pulls him into a sprawling conspiracy tied to government agencies, foreign operatives, and the CIA — an adaptation of Lee Child’s “Gone Tomorrow.” The season is darker, more political, and more intricate than earlier arcs, trading gunfights for brutal, visceral hand‑to‑hand combat and a mystery that expands in scale with every reveal.

Alan Ritchson delivers his strongest turn yet, blending deadpan wit with imposing physicality, while Maria Sten’s Neagley returns as his grounding force. New allies — including Sydelle Noel’s Tamara Green and Christopher Marquette’s Jake Merrick — sharpen the emotional and tactical stakes. The action is savage, the choreography refined, and the season’s political edge gives it unusual weight. Though its many moving parts occasionally strain, Season 4 remains muscular, thrilling, and compulsively watchable.

“My Brilliant Career” Season 1

Philippa Northeast, Christopher Chung, Jake Dunn, Anna Chancellor; created by Liz Doran

Netflix's “My Brilliant Career” emerges as a buoyant, sharply modernized period drama built around Sybylla Melvyn (Philippa Northeast), a strong‑willed young woman whose ambitions refuse the narrow confines of her world. Sent from her family’s struggling bush home to her grandmother’s estate, she’s nudged toward society, marriage, and a future that promises stability but not fulfillment. The season follows her pushback — the writing, the imagination, the stubborn insistence on a life shaped by her own hand.

Northeast carries the season with a magnetic, irrepressible performance, playing Sybylla with a mix of vim, volatility, and joy that gives the adaptation its pulse. Christopher Chung and Jake Dunn sharpen the romantic and social tensions, while Liz Doran’s expanded world‑building adds freshness without losing the novel’s spirit. Some modern touches glow a little too brightly, but the series holds as a plucky, lively coming‑of‑age story anchored by electric performances.