The most powerful impact created by The End of Oak Street, a lame nostalgia piece evoking Amblin Entertainment from four decades back, is that this sort of thing really must cease. For a while, Stranger Things managed to pull off a rebooted 1980s Americana entertainment crossed with horror, but now that that’s over at last, it’d be great if we’d all agree to just move on.

The classic era of Amblin Entertainment was itself nostalgic for a 1950s Neverland USA. The End of Oak Street is set in 1982, the year of both Steven Spielberg’s E.T. the Extra-Terrestrial and his haunted house film, Poltergeist, and it’s also centered on a white middle-class suburban family experiencing an extraordinary, otherworldly event. The End of Oak Street crosses that scenario with Spielberg’s Jurassic Park (1993), arriving at a plot about an entire suburban neighborhood transported via wormhole to the prehistoric jungle where dinosaurs tromp the earth and feed on everything smaller than they are, which is everything.

As in Spielberg’s 1980s films, The End of Oak Street remains absurdly invested in the prosaic woes of a representative nuclear family, no matter what world-shaking events occur. The Spielberg-ish nuclear family is always “troubled” — Mom and Dad are either divorced or on the verge of divorce, and the kids are anxious about that plus their own suburban concerns. Whatever the big event is that will disrupt their lives, dealing with it allows the family to resolve their own personal troubles, and in the end, voilà, everything is all fixed up again, and the representative white middle-class American family is restored to a restabilized world.