His concept of observing the Disney empire’s entrapment of imagination is flimsy as well, as numerous theme parks share the same mission of selling fantasy to their visitors (from New Hampshire’s StoryLand to South Carolina’s uber-racist South of the Border). Moore’s film is replete with artistic kneejerk criticisms to the experience of Disney, a dream-catcher-recording of the nightmares he must have had after the first time he stepped into Magic Kingdom as a father, and not a child. Escape from Tomorrow, while placing its average family into recognizable Disney rides and characters, is malleable to the experience of any populated attraction that can shine the worst in its visitors. Those venturing into this movie for some Disney damning should know that Escape from Tomorrow ain’t no Blackfish, referring to the recent documentary that gave a Kevin-Bacon-in Tremors-esque “F**************k yooouuu!” to SeaWorld with scandalous recounts followed up by direct indictments. A handful of bizarre events later, and Escape from Tomorrow becomes an acid trip that really takes off in the third act, where its Disney-venting shoots up into the artsy stratosphere. Later, he runs into a woman, who may or may not be a wicked witch, who advises him that the turkey is made from emu. He has visions of demonic faces while riding “It’s a Small World,” and gawks at the same two young French girls who constantly cross his path. While taking their kids on various rides, Jim’s mind goes elsewhere. Jim (Roy Arbamsohn) is dad to two innocent blonde kids (Katelyn Rodriguez and Jack Dalton), and husband to shrewd spouse Emily (Elena Schuber) who treats him as a third child. And yet, almost a year after premiering to the world via Sundance, M-I-C-K-E-Y M-O-U-S-E remains silent, the film finally being distributed to audiences who have no clue what kind of ride Moore is going to take them on.Įscape from Tomorrow borrows from the beginning of a hundred million other vacations: a generic family of four staying at a hotel on the Disney premises, their last day of theme park attendance upon them. Captured in black-and-white using cameras that look like any regular tourist tool, the project had a severely vulnerable existence which could have been canceled in one phone call, at any point in its filmmaking process. Here’s your WTF movie of 2013 – new writer/director Randy Moore’s daring Escape from Tomorrow, a bizarre psychological nightmare about visiting Walt Disney World, as shot on Disney land with zero permission.
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