The End of Oak Street may seem like a harmless, companionable, feel-good potpourri made up of parts from E.T. the Extra-Terrestrial (1982), Jurassic Park (1993), and Jumanji (1995), but it is, without question, one of the most cynical movies of the year.The movie tells of a time warp that admits dinosaurs to a suburban enclave in the early 1980s, and writer-director David Robert Mitchell means to lure audiences into the theater with the promise that it will traffic in nostalgia for that terrific time and milieu. After all, the popularity of 1980s-set movies and shows proves that a significant portion of the population wishes to live in a world in which Walkman cassette players were in wide use and Pizza Hut restaurants everywhere were outfitted with buffets.The End of Oak Street wants to capture this demographic. But recreating an era, as the movie does reasonably well, is not the same thing as expressing real affection for it. Despite embellishing his movie with period-accurate clothes, decor, and music, Mitchell has no deep attachment to the period at all. He means to sell tickets by putting Pat Benatar’s “Hit Me With Your Best Shot” on the soundtrack, but he has no intention of ratifying the actual manners and mores that governed the 1980s, which was, after all, “morning in America” — not the sort of era likely to be commemorated by Hollywood, and it isn’t here.