Critics gave The End of Oak Street 86%. The audience is close behind, and the score keeps climbing.

The End of Oak Street opened on Wednesday with a strong hand: an 86% from critics on Rotten Tomatoes, David Robert Mitchell directing, and Anne Hathaway and Ewan McGregor leading a family whose whole street gets ripped out of suburbia and dropped somewhere else entirely.

We do not measure critics. We measure what people say about a film in public social media conversations after they have seen it, scored nightly, with the sample size next to every number. Here is what opening weekend looked like in that data.

The score went up every single day

On release day the film sat at 68, built from just 14 verified reactions, the preview crowd. By Thursday morning it was 72 from 197. Friday held at 72 from 432, Saturday nudged to 73 from 814, and by Sunday morning it stood at 75 from 1,142 reactions, our highest confidence tier. The sample grew eighty times over and the number moved in one direction.

That is the shape of genuine word of mouth. The first people through the door are the most eager and the most forgiving, so a launch score usually cools as the wider crowd weighs in. This one warmed. The more people saw it, the better it did.

Critics and the crowd mostly agree

On the same yardstick, the share of positive verdicts, critics are at 86% and the audience is at 69%. That is a 17 point gap, and after the summer we have had, 17 points is small. Obsession's gap is 42 points. The Odyssey's is 26. Oak Street is the rare case this year where the people who reviewed the film and the people who paid to see it are describing roughly the same movie.

The full split: 69% positive, 11% mixed, 20% negative. The negative fifth is real and consistent, and it has a specific complaint, which we will get to.

What people praise

The praise is loud and it is about craft. Humor scores 93 out of 100 among reactions that mention it, the highest mark of any aspect. Visuals score 87 across 161 mentions, and the acting 83 across 112. When people like this film, they like how it looks, how it moves, and how often it makes them laugh.

The people praise has a name attached. Anne Hathaway is the most mentioned person in the whole conversation, 178 mentions, 70 percent of them positive. Mitchell himself is second at 134 mentions and 68 percent positive, which is unusual: audiences rarely talk about the director this much unless the direction is the point. Michael Giacchino's score gets its own small fan club at 70 percent positive. And the surprise dinosaurs, which we will not explain further, land at 77 percent positive across 26 mentions.

Where it splits

Ewan McGregor is the divisive one. 88 mentions, 53 percent positive, an almost even split, and the gap between him and Hathaway is the clearest single line in the data. The Steven Spielberg comparisons cut both ways too: 21 people reached for the name and only 48 percent meant it kindly. Half the crowd hears Spielbergian as a compliment and half hears it as a description of a movie they have seen before.

That last point is the one consistent complaint. Story is the most discussed aspect of the film by far, 414 mentions, more than double anything else, and it scores 61. Originality lands at 71 across 206 mentions. The premise is a hit; where the premise goes is where the 20 percent negative lives. Pacing, at 60 across 39 mentions, is a smaller version of the same note.

How loud it got

In the run-up, the film generated a few dozen verified reactions a day, with a one-day bump to 47 in late July. Release day jumped to 233. Friday was the biggest single day at 476, and Saturday held 377. We classified close to 1,400 verified reactions to this film across the five days of opening week, and the conversation was still running when this was written.

Where it goes from here

A 75 with a rising line and a small critic gap is a healthy place for a film to spend its second weekend. If the story complaint hardens as the sample grows, the number will say so; if the humor and Hathaway keep winning people over, it will say that instead. The score updates every night.

Follow the live score here: The End of Oak Street on Skip The Critics