I thought this movie was excellent with good plot and great acting. There were a few things I would change 1. This is a horror but it wasn't scary. Only eerie and it could be the freakiest movie of all time 2. All the characters would make dumb discussions. Maybe they could start then realize what they were doing then stop. 3. You shouldn't have offed Luke, Rosemary, and Paul when they were the key characters in this(although it made the ending a little bit better) But other than that this film was awesome and more people should no about it

Vanishing on 7th Street could make a great episode of The Twilight Zone. In fact its thunder was rather stolen by an episode of Doctor Who in 2009, Silence in the Library.It is an apocalyptic thriller where an unexplained blackout plunges the city of Detroit into total darkness and people just disappear.The next day only a few people have survived surrounded by heaps of empty clothing and abandoned cars. This small band of bickering survivors find their way to a bar, which has a generator that keeps the lights running as well as food and drink.When night falls the darkness is coming for them especially as the lights begin to flicker and one by one they are in danger of disappearing.The film is less of a horror film more of an eerie psychological thriller that leaves a lot of things unexplained. Where has this 'darkness' come from? How can it manifest the visions on the survivors?The film provides no answers because the central story is too slim but it still maintains your interest.

Although, I did have to watch it more than once to really feel it.John Leguizamo,Hayden Christensen, and Thandie Newton are the only ones left when some sort of dark force takes everyone in the city. They have to keep close to a light source to prevent the shadows from grabbing them. This struggle gets harder as the sun rising in the sky becomes more limited and the shadows play tricks on them in order to lore you into it's clutches. It is the type of movie you don't want to see in the dark or you can get freaked out by the shadows, which is why it's brilliant that Leguizamo's character, Paul opens the movie. Paul's a film projectionist at the local AMC (A big shinning product endorsement and I'm not even sure if this movie played in theaters). Leguizamo also gives, hands down the best performance of all the three adult actors playing a man not fully happy with his lonely existence making him more accessible to be taken by the shadows.Three people along with a boy, trapped in a bar that has the only one light source in the city, trying to figure out what's going on, and attempting to find a new light source in a desperate attempt to see if their love ones still exist. It's actually scary seeing only four people in a empty city trying to fight off the night.Your fright level may depend on your belief system. The film is smart to leave the purpose of the shadows vague, and allow you to come up with your reasoning and what makes you scared.It's decent enough to take a look at.

I have to give this film high marks for theme and atmosphere, but less for the execution of the theme and the formulaic conventions that detracted from both theme and atmosphere. The set-up for the opening, a blackout followed by reaching shadows and mysterious disappearances, is well done, a movie projectionist prophetically reading about the real-life vanishing of the Roanoke Colony while he eats a fruit long associated with the Biblical Tree of the Knowledge of Good and Evil. The character is well delineated in a few minutes, made memorable, which is good, because although he is absent most of the film, he later plays a key role in giving the audience the clues that will help them make sense of what is happening, a knowledge denied to the characters themselves. The situation and theme seemed, to me, very Lovecraftian in the sense that we have ordinary folks subjected to an incursion by the unknowable, victimized by a cosmos devoid of good or evil, an impersonal universe that takes lives without either malice or compassion. The effect is cheapened somewhat by the artificiality of dramatic flickering lights, and the overblown theatrics of the other characters, both against the encroaching shadows and with each other. The Lovecraftian theme is also weakened by an ending that is much too optimistic in light of what has gone before; the eeriness and the terror, even though not as sustained as they should have been, would have been intensified by a more pessimistic closing, thoroughly steeped in irony and menace. It was a good try, well-intentioned, but, ultimately, flawed.