Once inside, he makes a scintillating discovery: a ceiling-height tunnel big enough for him to crawl through, and to peep on the clients in a particular room. There’s no key on his own chain for the lock, so off to the hardware story he goes.
As they set up shop, strangely unable to scare up the fellow from whom they bought the place, Ray discovers a “Private” office whose door is chained and bolted. In the Arizona desert (the film was shot in the vicinity of Fredonia in that state) they buy a motel, replete with old-school neon.
Add to that the fact that Hunter went on to be one of the better non-Lynch directors of the first iteration of the TV series “Twin Peaks.” One can’t be blamed for hoping that this combination of talents at this time might combust into something interesting.Ĭage and Robin Tunney play a married couple, Ray and Maggie, who, in response to a family tragedy, are pulling a geographical.
The director of this film, Tim Hunter, was making a mark in the mid-eighties his wonderful “River’s Edge” mixed a mode of teen realism that recalled early Jonathan Kaplan with a sense of dread that could be well cited as Lynchian. “Looking Glass” opens with driver’s seat views of roads and credits in red type and a typeface that will look familiar to fans of David Lynch’s “ Wild at Heart” and “ Lost Highway.” “Heart,” of course, starred Cage way back in the day, when his eccentrically expressive behavioral tics seemed perfectly suited to a Lynchian world. Unfortunately, that is not the 2018 Nicolas Cage movie I am reviewing right now. The great actor Nicolas Cage has, one could say, officially entered the phase of his career in which observers are consistently on the lookout for a “return to form.” The upcoming “Mandy,” a new film by the distinctive young director Panos Cosmatos, and starring Cage, wowed more than a few critics at Sundance.