Whoever visited the Great Laughing Place (as Uncle Remus would have called it), can testify to a strange phenomenon: as much fun as it is, whenever Disney magic breaks and glitches, it quickly becomes unbearable. Given Disney's stress on happiness and smile, this may be Moore's ultimate, unforgivable heresy. ![]() "You can't be happy all the time," says a Lucifer-like rebellious princess after inadvertently hugging a tot to death. Ultimately, the film is about the terror of ubiquitous entertainment. It's too early to say, given all the positive buzz at Sundance, but it seems no movie that uses a miniature Epcot dome as an interrogation device (nor one that equals Disney enchantment with a bad case of cat flu) can get a pass from Tinker Bell. As Escape from Tomorrow is a guerrilla film, I was both surprised and pleased to find that aspect suitably underplayed. Unlike Jia Zhang Ke's "The World," which turned a Beijing theme park into a hollow setting of everyday sadness, "Escape from Tomorrow" is a fun paranoia ride, shot in a style reminiscent of Tom Schiller's long-shelved "Nothing Lasts Forever" (and quite likely to share its fate). Whatever its shortcomings (and it could use some condensing), one simply has to admire the film's effrontery. The repressed returns, with a vengeance: the Epcot dome blows up, fairies turn into whores, and as Jim is Soarin' along with the park's most spectacular ride, shots of naked babes get superimposed over luscious California vistas. Obsessed with a couple of sexy French tourists (or are they "cast members"?), Jim gets caught up in the dark underside of the surrounding kingdom. As the freshly laid-off Jim (Ray Abramsohn) takes his wife and kids for a theme park weekend, the world (or World) around him starts to disintegrate. Taking its cue from the ultimate Disney promise of "dreams coming true," the film then becomes a realization of a parental nightmare. Because of the ways, this movie was created. Another, is how well, the filmmakers evade attracting attention of park security. ![]() The reasons, why is because of the highly secretly production of monochrome black and white guerrilla-style shooting, in order to avoid lighting issues. From the opening shots of Big Thunder Mountain Railroad, scored to sweeping, melancholy music, the film sets to render the ubiquitous "magic" unfamiliar and weird - and it certainly helps that it's shot in black and white, with many instances of quaint rear projection. Escape from Tomorrow All Clear The Happiest Place on Earth Trailer Watch: Randy Moores Escape From Tomorrow Sundance Film Festival 2013 Sundance: Death by. Escape from Tomorrow has been called 'the ultimate guerrilla film'. Having visited Disney World myself a mere week before arriving in Park City, I was struck by how astutely the director rendered the sheer strangeness of the place. Shot guerilla-style almost entirely at Disney World in Florida, Moore's film offers an immersion into the alternative reality of constant amusement.
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