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What is compelling about the film and what makes it still of interest is the burning immediacy of the images: Newton skidding down a hill against a primordial New Mexico landscape; crossing the blasted wastes of a distant planet; Newton, finally without earthly disguise, standing as he really is before a terrified Mary-Lou or removing contact lenses from his yellow, glowing eyes. Roeg's skills always threaten to outbalance whatever he sets them to, and that has happened here. The movie, in all ways, is not good enough for him.