Here’s a story that may seem familiar to you: see a title that looks interesting, tag it on Netflix… and then proceed to ignore it for a few years.
Until you need a movie that starts with a “V”, anyway. (I may have lost some of you there)
We’re first going to meet Paul (John Leguizamo)a projectionist at an AMC theater in Detroit, puttering around his domain, headlight ablaze, making sure the latest Adam Sandler movie runs smoothly (all we hear is some really improbable music and the audience’s laughter). There is a sudden blackout, and when the lights come back on, everybody is gone. Literally. All that remains in the theater and lobby is spilled popcorn and empty clothing, still in shapes that suggest the people once wearing them. There are screams in the distance.
Then the lights go back off again.
We are introduced to Rosemary (Thandie Newton), a physical therapist at a hospital, and Luke (Hayden Christensen), a TV reporter who managed to sleep through the whole thing. Like Paul and his headlight, Rosemary was holding a lit match, and Luke’s girlfriend had some candles burning on a bedside table. In the 72 hours that follow, they wander around Detroit, scavenging flashlight batteries and glowsticks, finally winding up at a bar on 7th Street that has a backup generator, its lights keeping the hungry darkness at bay. There they meet a fourth survivor: James (Jacob Latimore), the 12 year-old son of the bartender. They will try to figure out what happened, and how they can get out of Detroit – or if they should even try.
The first 15-20 minutes of Vanishing are absolutely perfect and nightmarish, leaving me wondering why this movie wasn’t better known. Then we settle down in the bar and it becomes a different movie; a kind of a spam-in-a-cabin flick with all the bickering and psychological drama you’ve come to expect. That was a bit disappointing, but it has to be admitted that director Brad Anderson and a quartet of talented actors sell it and keep it moving, breaking up the submarine movie with flashbacks from Rosemary and Luke – Luke in particular receiving a satellite broadcast, during a momentary resumption of power in his TV station, from Chicago – implying that whatever it is, it’s worldwide, and laying out the rules: Stay in the light, don’t listen to the voices, and only trust the light that is in your hands.
I may have checked the time remaining, but I never once was tempted to press the fast-forward button.
There are going to be those among who will look askance at my describing Hayden Christensen as a “talented actor”, but really, separated from George Lucas’ ham-fisted direction (the man is a brilliant technician but considers actors mere props – and let’s not talk about his dialogue) Christensen is fine. We already knew about Newton and Leguizamo’s talent, and Jacob Latimore has had a good career since. Honestly, the fact that there are two kids giving great performances in this movie is amazing (the other is Taylor Groothuis).
You may have noticed that a couple of paragraphs above, I dropped the name of the director, Brad Anderson; you should recognize that name, as he is the director of, among others, Session 9 and The Machinist, both off-kilter, unusual horror movies. Vanishing on 7th Street was his first, and as far as I know, only apocalypse film, and I’d love to see what he could do with a larger budget on the same subject. He seems to be concentrating on TV more in the last eight or so years, with only the occasional movie, seemingly leaving overt horror behind. Let’s hope not, though.
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