HIDEAWAY
A film review by Robin Shortt
Copyright 1995 Robin Shortt
RATING : "Thumbs up"
If the movie adaptation of Dean R. Koontz's novel HIDEAWAY is anything to go by, then the lightshow you get when you kick the bucket almost makes dying worth it. The afterlife scenes--the movie's principal special effect--make the most imaginative use of CGI that I've seen in a film (certainly far outclassing the effects in THE LAWNMOWER MAN).
The story begins--notwithstanding a powerful, chilling opening sequence--with Hatch Harrison's (Goldblum) 'death' in a car accident. After two hours clinically dead, he is resusitated (by a team of medics led by Alfred Molina) and appears to fully recover.
But, as the movie's tagline suggests, he hasn't come back alone. A series of visions (also using inspired CGI) leads Hatch to believe he's developed a psychic link with a psychotic killer who preys on young girls--and has developed an interest in Hatch's own daughter Regina (Alicia Silverstone).
What really makes HIDEAWAY work are the performances by Goldblum and Jeremy Sisto (as the killer). Goldblum is utterly authentic as Hatch--his low key performance never seems anything but real. Sisto is a perfect villain, and imbues his character with enough personality to even make him (barely) sympathetic.
The other cast members turn in solid performances. Christine Lahti, as Hatch's wife, more or less reprises her role in THE DOCTOR. Alicia Silverstone is believable as Regina. Alfred Molina has the same problem he had with SPECIES--his character's a walking plot device, with no real purpose except to move the story along, but he does what he can with his limited role.
I'd give HIDEAWAY a "thumbs up". It covers more or less the same territory as THE CROW, and I'd say it failed where THE CROW succeeded (director Brett Leonard doesn't have the style of Alex Proyas) and succeeds where THE CROW failed (HIDEAWAY's characters have more substance and are much more sympathetic than those of Proyas' film).
If nothing else, see it for the CGI graphics and the pounding score (featuring music by Fear Factory and Godflesh) which is great and keeps the film moving.
NOTE: Be sure to stick around during the credits, there's more after they finish.
Robin Shortt, robin@bgr16.anu.edu.au |-"What the hell is that?" The ANU: Education for the rich, |-"Sounds like Cole Porter not just anyone! | to me, sir." - Tank Girl
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