9/1/2023 0 Comments Disney escape from tomorrowThe remainder of the film follows Jim's mental disintegration, paranoid confrontations with animatronic characters and robot scientists, erotic encounters with giggly teen French sirens and a "witch" with a gleaming amulet in her cleavage. Our unlikeable hero is a loutish, unhappily married dad, Jim White (Roy Abramsohn), who learns on the morning of his last day of family vacation at Florida's Walt Disney World that he has been fired from his job. Now comes Randy Moore's psychological horror film Escape from Tomorrow, shot illicitly in Disney theme parks in Orlando and Anaheim, and portraying the company's advertised "happiest place on Earth" as a centre of totalitarian grotesquerie. as a child-snaring agent of cultural imperialism. In 1972, on the eve of the CIA coup in Chile, playwright Ariel Dorfman and sociologist Armand Mattelart published the mischievous tract How to Read Donald Duck, indicting Walt Disney Co. Macabre urban legends range from Walt's cryogenically preserved body to the claim that no one has ever been declared dead at a Disney theme park. With: Roy Abramsohn, Elena Schuber, Katelynn Rodriguez, Jack Dalton, Danielle Safady, Annet Mahendru, Alison Lees-Taylor, Lee Armstrong, Amy Lucas, Stass Klassen.Walt Disney's legacy as a creator of children's entertainment, theme parks and saucer-eyed animal characters has long been a target for the cynical. Reviewed at Sundance Film Festival (Next), Jan. Taking the Mickey out of Disney's rose-tinted worldview, while also offering a rollercoaster ride through the psyche of a man losing his head, Moore's film paints a trippy picture of misery. Directed, written by Randy Moore.Ĭamera (B&W, HD), Lucas Lee Graham editor, Soojin Chung music, Abel Korzeniowski production designers, Sean Kaysen, Lawrence Kim art directors, Arne Knudsen, Katie Wheelock set decorator, Alma Gamino costume designer, Gara Gambucci sound (Dolby Digital), Sam Hamer, Jerry Wolfe supervising sound editors, Paul Andre Fonarev, David Lankton re-recording mixers, Paul Ratajczak, Mark Ettel visual effects supervisors, Bruce Heller, Ryu Jaehwan visual effects, 4th Creative Party stunt coordinator, Mark Ginther associate producer, Chung assistant director, John David Denison casting, Gioia Marchese. Shot at the world-famous theme park, a middle-aged fathers family vacation unravels into a surrealist and darkly comic nightmare of paranoid visions and. (Gap-filling rear-projection work is digitally enabled, but looks like it could have been done 50 years ago.) Editing by Soojin Chung could be tighter on the whole, an impression furthered by the film’s ineffective “intermission” past the one-hour mark.Ī Mankurt Media presentation, in association with Soojin Chung, of a Gioia Marchese production. must have needed to keep the camera hidden for much of the shoot. Lucas Lee Graham’s luminous cinematography manages to put the viewer in a trance, despite the fact that the d.p. Plus, there’s a mysterious “cat flu” going around, and eventually the hapless patriarch is abducted as part of the Siemens corporation’s nefarious experiments in mind control.Īmazingly, “Escape From Tomorrow” steers clear of full-on camp, its vision of Americana’s underbelly being enjoyably ridiculous but also brazenly unwholesome and disturbing. But that doesn’t explain the middle-aged sexpot (Alison Lees-Taylor) who seduces Jim with the help of her trippy heirloom pendant. At first, his warped funhouse hallucinations seem attributable merely to sunstroke and too much time on Big Thunder Mountain Railroad. White may be a creep, fixated on the sight of French girls (Danielle Safady, Annet Mahendru) sharing a banana, yet it’s hard to say he deserves the waking nightmare that ensues. To him, the Epcot Center globe resembles a “giant testicle,” and his son’s obsession with the Buzz Lightyear ride is a burden. Equal parts victim and villain, the man of “Tomorrow,” Jim White (Roy Abramsohn), is a pudgy, horny, jobless shlub who, strolling the park with his wife (Elena Schuber) and kids (Katelynn Rodriguez, Jack Dalton), leers at teenage girls and drinks like a lush. Moore’s ingenious decision to shoot in black-and-white not only strips the Magic Kingdom of vitality from the get-go, but gives the pic an unmistakable kinship to ’50s and ’60s B-movie horror.
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