We received an unprecedented three separate reviews of Randy Moore’s controversial surrealist satire Escape from Tomorrow, the independent feature which was shot guerrilla-style at Disney World and which many originally supposed would be unreleasable thanks to Disney’s notoriously aggressive legal department. We have decided to compile these three individual takes into one giant mega-post for your enjoyment and edification. So here’s everything you need to know about Escape from Tomorrow, at least for now…
DIRECTED BY: Randy Moore
FEATURING: Roy Abramsohn, Elena Schuber, Katelynn Rodriguez, Jack Dalton, Danielle Safady, Annet Manhendru, Allison Lees-Taylor, Lee Armstrong, Stass Klassen
PLOT: A day in the life of an American family vacationing at Disneyland… or Walt Disney World… or at least some Disney related theme park. Only the day starts out with Jim (Roy Abramsohn) getting a call from his boss, who tells him that there’s no job for him to return to. Things can only go downhill from there, but everything is filtered through a cheerful veneer. From a spreading cat-flu epidemic, to stalking teen-age girls, brainwashing by Park cyborgs, it just goes to show that “bad things happen everywhere”… even in the Happiest Place On Earth. (synopsis by L. Rob Hubbard)
Troubled family man Jim White and his family try to enjoy their final day in Disney World, but he becomes distracted by a pair of pretty French teenagers, blackouts, and visions of sinister happenings in the idyllic theme park. As the intensity of White’s visions grow, so too do tensions between him and his family, and soon it seems he might lose them and himself altogether to the weird power of Disney World. Would he really miss them, though, or does Disney offer him something better? (synopsis by Ben Sunde)
A middle-aged man (who looks an awful lot like a husky Tom Cruise) gets promptly fired via telephone amidst a family vacation to Disneyworld, and proceeds to break down mentally and physically with his family while he covertly follows two barely-legal Parisian teenagers during his waltz through the happiest place on earth. (synopsis by Ryan Aarset)
1. L. Rob Hubbard
WHY IT SHOULD MAKE THE LIST: Aside from the accomplishment of actually shooting on Disney property completely in plain sight, the film’s subversive commentary on Disney’s hold on the collective imagination has a solid bite that has not been previously approached as directly as it is here.
COMMENTS: “Jim, listen to me. Don’t let your imagination run wild. It’s a transitional period.”
This is the first full sentence of Escape from Tomorrow, and it’s a key—if not the key—to understanding exactly what writer/director Randy Moore is up to in this groundbreaking film. Thanks to its impressive and unique origins, Escape from Tomorrow now occupies a spot analogous to that The Blair Witch Project held over a decade ago (leaving aside the latter film’s massive box office) in independent film. And, like Blair Witch, Escape is starting to encounter backlash in reaction to the hype that accompanied its debut at Sundance as “the best film that you may never get a chance to see.” Most of that backlash centers around a perceived lack of bite in the satire, and to criticism of the acting and filmmaking as “amateurish” and “just plain awful.” To each his own, but since most of the initial discussion centered around the film as a cause célèbre when it appeared to be waiting to be crushed by Disney’s corporate paw, now that it has been released with very little reaction from The Mouse House, some are feeling cheated that perhaps the film didn’t go as far as it could taking on Disney… that it’s a missed opportunity.
Those who hoped for a harsh slash and burn attack on Disney and its park practices will need to seek satisfaction elsewhere, but those who feel that the satire is too soft and too on the surface are missing the point entirely. Escape from Tomorrow is a comic nightmare of the subconscious: “Lynchian” has been used many times in descriptions of the film. But Moore isn’t a David Lynch-style surrealist; his take in presenting the paranoia and sexual tension that lurks in the corners of The Happiest Place On Earth is closer to the work of Luis Buñuel.
“Imagination” is a word that is repeated throughout Escape from Tomorrow, and it is the coin of this realm. After all, the whole function of amusement parks such as Disney World is to provide a playland. What could be better than having your playland already thought out for you—characters, scenarios, every little thing? Disney may not have been at it the longest, but they have certainly been very thorough in “imagineering” characters and places that have Continue reading THREE TAKES ON ESCAPE FROM TOMORROW (2013)