Movies
Wrecked (V)
“As a result, Wrecked loses its shine the longer you watch it. There are only so many scenes of Brody elbow-crawling through pine needles that a man can take before the magic starts to wear off.”
The success of one-man shows like Buried or Moon depend almost entirely on the acting prowess of the leading man. Although both films were expertly shot and edited, it’s the presence of Ryan Reynolds and Sam Rockwell (respectively) that pushed them into the annals of cult greatness. In Wrecked, star Adrien Brody plays a man who wakes up in a mangled car, in the middle of the woods, with his leg trapped under the crushed dashboard. In a raw, bruised performance, he certainly proves he’s got the chops to shoulder a one-man, limited-scope indie flick.
When he first regains consciousness––his face banged all to shit, his eyelid swollen to the size of a super-ripe grape––Brody wears his confusion like a plaintive mask. He’s in the passenger seat of a totaled sedan, there’s a male corpse in the back seat, and it’s completely obvious that Brody has no idea where he is or how he got there. His amnesia is conveyed with a minimum of dialogue (Brody only says a handful of words during the first 30 minutes of Wrecked), which is a credit to both Brody’s performance and the gaunt script by screenwriter Christopher Dodd. Brody eventually manages to free his broke-ass leg from the wreckage, but after discovering a half-spent revolver under the car seat and hearing a local news report on the car radio, he’s not so sure he wants to be rescued.
Eating bugs and drinking captured rain water, Brody’s crippled forest survival becomes the focus of Wrecked, essentially ignoring the audience’s desire to find out how and why he got into that stupid car in the first place. And that’s the primary problem with the film: the story is too skeletal to carry any real weight. It’s obvious that Brody was involved in some bad shit, but the film is far too deliberate in doling out its secrets. A plot that can be summarized in one sentence takes the movie a full 90 minutes to reveal. As a result, Wrecked loses its shine the longer you watch it. There are only so many scenes of Brody elbow-crawling through pine needles that a man can take before the magic starts to wear off.
Director David Robert Mitchell (It Follows) is back this summer with dinosaurs-in-suburbia mystery box movie The End of Oak Street, and new official posters have arrived.
Check out the brand new The End of Oak Street posters below and look for the sci-fi/horror movie in theaters August 14, 2026 from Warner Bros. and producer J.J. Abrams.
Anne Hathaway and Ewan McGregor come face-to-face with a monstrous threat in The End of Oak Street, which looks like M. Night Shyamalan with retro-style Amblin vibes.
As Mitchell explained to Entertainment Weekly, inspirations for the film include Jurassic Park, The Twilight Zone, Poltergeist, The Valley of Gwangi, and M. Night Shyamalan’s Signs.
The End of Oak Street is set in the early 1980s…
In the film, “After a mysterious cosmic event rips Oak Street from suburbia and transports their neighborhood to someplace unknown, the Platt family soon discovers that their very survival depends on them sticking together as they navigate their now unrecognizable surroundings.”
Maisy Stella and Christian Convery also star.
The film is written and directed by David Robert Mitchell and produced by J.J. Abrams, Hannah Minghella, Jon Cohen, David Robert Mitchell, Matt Jackson and Tommy Harper. The executive producers are Chris Bender, Jake Weiner, Joanne Lee and Leeann Stonebreaker.
David Robert Mitchell’s team behind the camera for WB’s The End of Oak Street includes director of photography Michael Gioulakis, production designer Maya Shimoguchi, editor John Axelrad, composer Michael Giacchino and costume designer Erin Benach.
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