[BehrItAll]

You can see the trailer at the official site Vanishing on 7th Street, Official Movie Site

Vanishing on 7th Street (2010)

Vanishing on 7th Street (2010) - Release dates
USA 2010
Canada 12 September 2010 (Toronto International Film Festival) (premiere)




Previous Threads:
http://www.fanforum.com/f122/vanishi.../#post50573114

[violet wings]

Thank you Steph

We finally have a Vanishing thread

There's a bunch of stuff about this movie. Starting right here:
what about some premiere pics and reviews?

Vanishing on the 7th Street Reviews Light is also the pulse of Brad Anderson’s “Vanishing on 7th Street,” but in a way that’s far more literal than “Julia’s Eyes.” Hayden Christensen (in one of his best performances to date), In introducing the screening Monday, Christensen told TIFF’s Midnight Madness programmer Colin Geddes that he was drawn to the film’s “metaphors and subtext of what isn’t going on” and believe me, some will think there won’t be a lot going on. Fans of Anderson’s might liken it to “Session 9,” which impressed not with its threadbare storyline but its evocation of dread. There aren’t really character arcs so much as there are varying levels of fear and desperation in “Vanishing on 7th Street” amongst Christensen’s proactive newsman Luke, Newton’s frightened nurse Rosemary, Leguizamo’s crippled projectionist Paul, and Latimore’s fickle James. Read All ? Making its world premiere at Toronto’s Midnight Madness section – where Anderson previously launched his Christian Bale psychological thriller The Machinist – Vanishing On 7th Street should easily find an audience among fans of apocalyptic thrillers, a genre that has been a staple of recent years, encompassing everything from I Am Legend to The Road. Taking its cue from Night Of The Living Dead, much of the movie revolves around the interactions of these dissimilar characters as they try to stay alive. This requires strongly drawn individuals in order to bolster audience empathy, and unfortunately the results are a bit uneven. Christensen gives perhaps his best performance since Shattered Glass, but still he seems too boyish to convince as the steely leader of this mismatched group. Leguizamo’s character exists largely to provide exposition and plot obstacles, but nonetheless the actor doesn’t bring much personality to the part. By contrast, Newton is quite touching as a woman pining for her lost (and presumably dead) child, and young actor Latimore holds his own with his adult co-stars. Read More!

Pics from the Premiere at TIFF


more here

PS: The poster looks scary

[Cereal Killer]

Thanks for the thread, Steph!

This one looks interesting! And Hayden looks yummy in those caps.

So it premiered already? There don't seem to be dates for other countries yet though.

[violet wings]

Apparently it's already showing in Canada.

What about the US?

[BehrItAll]

It premiered at the Toronto International Film Festival only.
There are no dates for theater releases yet. They say late 2010, early 2011.

Christensen gives perhaps his best performance since Shattered Glass,

That is a good news!

Thanks for the review and pics Val

[violet wings]

You're welcome

Despite how scary it looks, I'm glad they're saying good things about his acting and the movie in general. That's really good

[BehrItAll]

I wonder if the version that will be released in theaters will be different from the one shown at TIFF.

[violet wings]

Maybe. They tend to edit the movies a lot before getting the one that's released.

Hayden Christensen, Thandie Newton Talk ‘Vanishing on 7th Street’ If you’re not afraid of the dark now, you just might be after seeing ‘Vanishing on 7th Street.’ The new post-apocalyptic thriller by director Brad Anderson (‘The Machinist’) stars Hayden Christensen, Thandie Newton, John Leguizamo and newcomer Jacob Latimore as a group of survivors trying to figure out how to sustain themselves in a world where everyone has inexplicably vanished. This is a pretty unusual concept. What was your reaction when you first saw the script? Newton: I really liked how spare the script was. And you could tell straight away that it wasn’t going to be looking for shocks and thrills. It was much more a kind of meditation on fear and – Christensen: And death. Newton: Yeah, and death. And it would rely heavily on what the actors brought to it, which I thought was… you don’t get those very often. Did you have any idea about how you were going to get into character and approach it? Christensen: What I liked about the script was the containment of it and how that would allow for real character exploration. We spent a lot of time in that bar. Just Thandie, John, Jacob and myself. And it really felt like we were putting on a play. Newton: We had lots of night shoots in the freezing cold. It was like an endurance test. We had a lot of stuff to get through, so it was also everyone very keen to get the work done. So there almost wasn’t time to think about how cold it was. I love all of that. Christensen: I think it also lends itself to the work. The nature of having to make a movie in such tough conditions in such a short period of time gave us all this sort of frantic feeling that we’re just trying to keep up with in the movie. What were you picturing, since the “monster” is very vague and we never really see it? Hayden: Just a shadow that moves on its own. That’s pretty unnerving. Newton: Creeping towards you, encompassing everything. But also there’s sort of a feeling of drowning, too, and suffocation. It’s like all the worst ways to go in this entity. Christensen: I think the ambiguity of it all allows you to create your own worst fear. It’s not like you have a monster jumping out at you. It’s unknown. Last night you mentioned that you placed a lot of trust in Brad to help you really get to the core of your character. What inspired that trust? Christensen: He’s extremely articulate in his vision, and his past films have all been very creative endeavors. Tonally, he’s able to capture something that is really unique and really an extension of his creativity. So that instills a lot of faith in you as an actor. Newton: He has his own personal style that’s very unique. So what we wanted to do is honor that style in this catalog of movies that he’s going to be making. I had to put my faith in someone, because some scenes were just so driven and emotional, there was a real abandonment and I got quite lost in the trauma of it all. I had to hope that Brad, and to some degree the other actors, were there to be the judge of where it was going and what needed to happen. Christensen: And dependent on each other as well. I think that’s sort of a theme in the film. How we rely on the people around us. Is that sort of what you meant when you said it reminded you of a play? Christensen: Yeah. When you’re on stage, you’re totally dependent on the other actor. But really for me it was about the containment of the story. When I read it, it really read like a play, and I thought we could approach it like a play. And that was really appealing to me. What was it like working with John Leguizamo? Was he kind of the comic relief on set? Newton: He’s actually pretty serious. He’s got incredible energy, John. He has all of these ideas and he’ll sort of switch from one topic to another. But he was all about the material. He’s got a slight obsessiveness, too. But then he might suddenly just break out into an amazing dance routine. And so would Jacob. Christensen: Jacob is quite the dancer. Newton: He is. And he sang at the end of the movie, didn’t he? Didn’t he sing ‘Happy Birthday’ to someone in the most beautiful voice — was it to Brad? Christensen: Oh yeah. I think it was to Brad. With such a small group of actors, how did having a rookie in the mix affect the dynamic? Newton: He did not feel like a rookie at all. Hayden: No, he’s a natural. What was it like filming in Detroit? Had either of you filmed there before? Christensen: No, it was my first time. Newton: I loved it. Obviously, the city lent itself really well to the movie. Streets and building after building were empty, and there were old motor factories with machinery just left suspended. Buildings that have trees growing up out of them. It was beautiful and sort of tragic at the same time. It kind of has a ghost-like feel to it. Christensen: Absolutely. Newton: Humanity has left this place. So that was amazing for the film. On a personal level, the people of Detroit are just so tenacious. Hayden took us to this Italian restaurant where Brad had his first truffle, didn’t he? Christensen: That’s right. Who do you think this movie will appeal to, since it really defies genres? Christensen: I think it will appeal to people who want to go to a movie and be stimulated. Source

[BehrItAll]

Good interview! Really smart questions.
And it sounds like it will be a good film. And not just a scary one but one that explores deeper meanings:

Christensen: And dependent on each other as well. I think that’s sort of a theme in the film. How we rely on the people around us

[violet wings]

Yep, it sounds very interesting

[BehrItAll]

Oh please, oh please be released in theaters soon.

[violet wings]

Do you think it will be for the end of this year or maybe 2011?

[BehrItAll]

Judging by his movies' delays in the past, I say 2011.

[violet wings]

2011 seems good. Mainly because Takers is still on the theaters.

[BehrItAll]

I would never object to two of Hayden's films being in theaters at the same time