![]() The production was handled by New York production team Blaze and remixes by electronic music duo Deep Dish, consisting of Ali " Dubfire" Shirazinia and Sharam Tayebi, were made. It became one of the most talked about records at the 1995 Popkomm event and was picked up by Jim Ingles, A&R manager at Kickin subsidiary Slip'N'Slide Records. "Hideaway" was originally released by Easy Street Records, one of the longest-established house labels in the US. It was featured on their album Pete’s Everything Club Rub which was made available via Ministry of Sound. In 2022, English disc jockey and BBC Radio 1 host Pete Tong teamed up with Eats Everything (aka Daniel Pearce) to deliver a spin on "Hideaway", giving it a stylish twist. The song was released a third time in 2006 and reached number 82 in the Netherlands. A remixed version, called "Hideaway 1998", which featured a mix by Nu‑Birth, peaked at number 21 in 1998. The song has been remixed and re-released several times. It also reached number nine in the UK and number 38 on the Billboard Hot Dance Club Play chart in the US. The Deep Dish remix peaked at number-one in Italy. It is the group's most successful single and is written by Kevin Hedge and Josh Milan, and produced by Blaze. Murder (tv mini-series, 1998), Sole Survivor (tv mini-series, 2000), Black River (tv movie, 2001), Frankenstein (mini-series, 2004) and Odd Thomas (2013)." Hideaway" is a song by American house music group De'Lacy, featuring vocals by Rainie Lassiter. Koontz adaptations are:– Demon Seed (1977), Watchers (1988), The Face of Fear (1990), Whispers (1990), Servants of Twilight (1991), Phantoms (1998), Intensity (tv mini-series, 1997), Mr. Following Virtuosity, Leonard vanished from cinema screens for a decade, making IMAX shorts, before returning with the Marvel Comics adaptation Man-Thing (2005), the excellent psycho film Feed (2005) about obesity fetishism and Highlander: The Source (2007). Unfortunately, as with the rest of the film, it is technical flourish far in excess of the substance of the story.īrett Leonard first appeared as director of the mad scientist/zombie film The Dead Pit (1989). Certainly, the one area that Brett Leonard expectedly excels is with the computer animation and the sequences with Jeff Goldblum going out of the body and travelling to Heaven and Hell are impressive. Jeff Goldblum gives it his best, although in truth he has been given a bland role that could have been filled by anybody. The script typically never offers any motivation for what it is that he is doing. However, outside of his image, Sisto appears to have little acting ability and is unable to make the climax anything more than routine. There is a distinct sense of danger present when he is attempting to seduce Alicia Silverstone. The film’s best moments tend to be when Jeremy Sisto is on screen, impressive all in black and shades. Hatch Harrison (Jeff Goldblum) ventures into the afterlife Just about everything is signposted from the moment it is introduced – we know the film is going to climax with Jeff Goldblum defending his family as Vassago attempts to do things to Alicia Silverstone we know that Alfred Molina is involved more than he appears to be at face value. The script seems to take the most predictably possible route to where it is going. It takes Jeff Goldblum’s character at least an hour to work out what the audience already knows – that he has a psychic link with the killer. The plot of Hideaway is numbingly predictable. Brett Leonard – despite having a script from Andrew Kevin Walker who next wrote the great Se7en (1995) – has nothing new to say about the overly familiar subject. ![]() (For a more detailed overview see Films About Clairvoyance and Precognition). The film’s theme of the person who develops a psychic link with a killer has been done to death in other films – Eyes of Laura Mars (1978), Fear (1990) and In Dreams (1999), and become the stuff of routine tv movies such as Baffled! (1972) and Visions (1972), The Eyes of Charles Sand (1972). Brett Leonard’s weakness is cliched storytelling. However, the finished film hardly warrants it. ![]() Koontz’s books – in this case his 1992 best-seller – obtained a full theatrical as opposed to video release. Most tellingly, in both cases said horror authors sued to have their names taken off the credits of the finished films.Ĭertainly, Hideaway was the first time since Watchers (1988) that a film adaptation of one of Dean R. Koontz – as vehicles for his CGI displays. In both The Lawnmower Man and Hideaway, Brett Leonard uses the works of best-selling horror authors – Stephen King and Dean R. Both here and with The Lawnmower Man and his later feature-film Virtuosity (1995), Leonard proved himself adept with the then new and cutting edge marvels of CGI – but little else. Brett Leonard’s previous film was The Lawnmower Man (1992). Hideaway was the second film of director Brett Leonard.
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