Hatch, his wife Lindsey and their daughter Regina are in a car accident one night, which sees Hatch supposedly die to only be brought back to life on the operating table by Dr. Jonas Nyebern after being dead for a short period . After this miracle he begins having odd flashes / visions that he has trouble dealing with as they seem so real, as Dr. Nyebern seems to be hiding something about his work. Hatch would discover later that he actually has a special connection with a vicious psychopathic serial killer that can see through his eyes and he can see through theirs. Is there a special link to this, or is Hatch loosing his mind?
A respectable, but stock-like psychic thriller adapted from a Dean R. Koontz novelisation, which bestows a capable bunch of actors in the likes of Jeff Goldblum, Christine Lahti, Alicia Silverstone (a wholesome turn before making herself big in "Clueless"), Jeremy Sisto and Alfred Molina. Director Brett Leonard (from the "The Dead Pit") brings to the feature the computer special effects that shrouded his previous sci-fi film "The Lawnmower Man", but for "Hideaway" it's only used in minor doses in the sequences involving the afterlife / out of body experiences. Although it lets loose towards the film's rampaging, if overdone climax in a good vs. evil confrontation of souls in illuminating lights, but the computer effects for its period are well done for most part.
Nevertheless it's compellingly delivered, even though it consists of some clumpy dialogues and holds quite a stringy plot that has you questioning details for them to only unfold the further it went. When it decided to feed us some of the niggling queries (it opens up a can of worms) to clear up any confusion and this is when it suddenly turned mechanical and unassuming in its plot progression. Gone was the hauntingly edgy and sombre atmospherics of looming nightmares of a character trying to make sense of the erratically jarring images plaguing his mind. Was he unknowingly committing these acts in some sort of blackout or was he tunnelling somebody else's sight? Now it would be replaced with the standard over-the-top race against the clock with the family in peril get-up. This type of story has been done plenty of times before, but Goldblum's sober turn is an interesting one and Leonard's sickly crafted, well paced direction is visually appealing in its dourly under lit, but well filtered tones and glassily etched-out suspense. Gale Tattersall's expressive photography is lean, but precise. Sisto's homicidal serial killer performance at first is sinisterly creepy, but as it went along it began to grate away with his eccentricity opting out. Trevor Jones' music score is hauntingly harmonious in its arrangement and the Gothic / industrial rock soundtrack is fitting.
Also after the credits finish rolling there's an unnecessary tacked on shock sequence with "Carrie" getting a reference.
A respectable, but stock-like psychic thriller adapted from a Dean R. Koontz novelisation, which bestows a capable bunch of actors in the likes of Jeff Goldblum, Christine Lahti, Alicia Silverstone (a wholesome turn before making herself big in "Clueless"), Jeremy Sisto and Alfred Molina. Director Brett Leonard (from the "The Dead Pit") brings to the feature the computer special effects that shrouded his previous sci-fi film "The Lawnmower Man", but for "Hideaway" it's only used in minor doses in the sequences involving the afterlife / out of body experiences. Although it lets loose towards the film's rampaging, if overdone climax in a good vs. evil confrontation of souls in illuminating lights, but the computer effects for its period are well done for most part.
Nevertheless it's compellingly delivered, even though it consists of some clumpy dialogues and holds quite a stringy plot that has you questioning details for them to only unfold the further it went. When it decided to feed us some of the niggling queries (it opens up a can of worms) to clear up any confusion and this is when it suddenly turned mechanical and unassuming in its plot progression. Gone was the hauntingly edgy and sombre atmospherics of looming nightmares of a character trying to make sense of the erratically jarring images plaguing his mind. Was he unknowingly committing these acts in some sort of blackout or was he tunnelling somebody else's sight? Now it would be replaced with the standard over-the-top race against the clock with the family in peril get-up. This type of story has been done plenty of times before, but Goldblum's sober turn is an interesting one and Leonard's sickly crafted, well paced direction is visually appealing in its dourly under lit, but well filtered tones and glassily etched-out suspense. Gale Tattersall's expressive photography is lean, but precise. Sisto's homicidal serial killer performance at first is sinisterly creepy, but as it went along it began to grate away with his eccentricity opting out. Trevor Jones' music score is hauntingly harmonious in its arrangement and the Gothic / industrial rock soundtrack is fitting.
Also after the credits finish rolling there's an unnecessary tacked on shock sequence with "Carrie" getting a reference.