Escape from Tomorrow
Escape from Tomorrow | |
---|---|
Cinedigm | |
Release dates |
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Running time | 90 minutes |
Country | United States |
Language | English |
Budget | $650,000 |
Box office | $171,962[1] |
Escape from Tomorrow is a 2013 American independent horror film written and directed by Randy Moore in his directorial debut. It tells the story of an unemployed father having increasingly bizarre experiences and disturbing visions on the last day of a family vacation at the Walt Disney World Resort. It premiered in January at the 2013 Sundance Film Festival and was later a personal selection of Roger Ebert, shown at his 15th annual film festival in Champaign, Illinois. The film was a 2012 official selection of the PollyGrind Film Festival, but at the time filmmakers were still working on some legal issues and asked that it not be screened.[2]
The film drew attention, because Moore had shot most of it on location at both Walt Disney World Resort and
It has been compared to the work of
It was released simultaneously to theaters and video on-demand on October 11, 2013, through Producers Distribution Agency, a Cinetic Media company.[8] It has received mixed to negative reviews, praising its visuals and ambitious production, but criticizing its execution.
Plot
On the last day of his family's vacation at Walt Disney World, blue-collar worker Jim White gets fired for an unknown reason, during a phone call with his boss at the Contemporary Resort Hotel. Refusing to ruin his family's vacation, Jim decides to keep it to himself. The family leave their hotel room and takes the monorail to the park alongside two French teenage girls, Isabelle and Sophie, who pique Jim's interest, unbeknownst to his wife Emily, and their two children Elliot and Sara.
During the rides, Jim has a series of bizarre and disturbing
After an argument with Emily, Jim takes their children to various Disney park rides, while pursuing Sophie and Isabelle. Later on, he meets a mysterious woman, who uses a necklace of hers to hypnotize him, making him black out and wake up to her raping him. She then informs him that the parks' wholesome, costumed princesses are actually part of a secret prostitution ring that services rich Asian businessmen and that the turkey legs sold in the park are actually
Jim's attempts to meet Isabelle and Sophie are noticed by Emily, causing tension between her and Jim, even when they go further with the children to Epcot. After Emily and Elliot return to the hotel following an argument with Jim resulting in her slapping Sara, Sophie approaches and invites Jim to come with her and Isabelle. When Jim refuses, Sophie spits in his face and walks off. Jim notices that Sara has disappeared and frantically searches for her, until the park guards use a taser to knock him unconscious.
Jim awakens in a secret detention facility under Epcot's
After damaging the instrument panel with medical ointment and decapitating the scientist, who turns out to be an android, Jim escapes the laboratory through a sewer. He finds that Sara has been captured by the mysterious woman, now wearing a Snow White costume. She proceeds to tell them about her past as a costumed princess, which ended after she crushed a little girl to death whilst hugging her. She hypnotizes Jim with the necklace again, but Sara pulls it off and smashes it, freeing Jim from her spell, and allowing her and Jim to escape.
After returning to his hotel room and putting Sara to bed, Jim begins suffering from digestive distress, and vomits up a large amount of blood and
The next day, a distressed Emily finds Jim's dead body, which now has cat eyes and a grinning face. Cleaning staff arrive to remove all proof, with one of them filling Elliot's head with false memories of riding the Buzz Lightyear attraction. As Jim's body is taken away, a new family comes to the hotel, which consists of another version of Jim, the woman from the Soarin' attraction, and their daughter.
Cast
- Roy Abramsohn as Jim White
- Elena Schuber as Emily White
- Katelynn Rodriguez as Sara White
- Jack Dalton as Elliott White
- Danielle Safady as Sophie
- Annet Mahendru as Isabelle
- Alison Lees-Taylor as the Other Woman
- Lee Armstrong as the Man on Scooter
- Amy Lucas as the Nurse
- Zan Naar as the Fantasy Woman/New Wife
- Stass Klassen as The Scientist
- Trevor McCune as Valet
Background
Randy Moore, a native of
He decided to pursue a career in film. After attending two other film schools, he graduated from Full Sail University in another Central Florida town, Winter Park, as the class valedictorian. He moved to Southern California and began working as a story editor, primarily doing uncredited rewrites.[9]
In Hollywood, he married and started a family. Much like his own father, he frequently took his own children to Disneyland. "It wasn't until our first family trip together that this very visceral emotional landscape of my past, that I had by now nearly all but forgotten, hit me again like [a] bullet."[12] On the family's first trip to Walt Disney World, the emotions grew stronger. "[I]t was like he was there as a ghost. We were going on the same rides I used to go on with him, but now we're no longer talking anymore."[11]
His wife, a native of the
He read Neal Gabler's biography of Walt Disney and took the children to Disneyland more frequently.[11] "I became obsessed with finding a connection," he recalled later.[12] He wrote the screenplay for Escape from Tomorrow in a month along with two others.[11] An inheritance from his grandparents provided the bulk of the film's budget,[3] which he put at around $650,000, triple what he had originally planned.[11]
Production
"To me this is the future. Cameras in your hand. Cameras in your glasses. Anyone can be shooting at any time.
And I think it will explode".
—Randy Moore[3]
"There was nowhere else to do it," Moore says of his decision to use Disney World as a setting and shoot at the parks. Disney, which has a reputation for aggressively protecting its
Moore used
Extensive pre-production was necessary. The unique nature of the film shoot dictated steps not normally taken in filmmaking, such as charting the position of the sun weeks in advance since they could not use lighting equipment. Scenes were rehearsed and blocked in hotel rooms, rather than the actual locations.[15] "We must have walked through the entire movie at least eight or nine times during multiple scouting trips before we ever rolled camera," Moore says.[12]
Before principal photography, the cast and crew bought season passes to both Disneyland Park and Walt Disney World Resort. They spent ten days in Florida, then returned to California for two weeks at Disneyland, making the resort depicted in the film a combination of both properties.[15] Actors and crew entered the parks in small groups to avoid attracting attention.[13] "At one point, I even made the camera department shave off their facial hair and dress in tourist attire, which almost provoked a mutiny," says Moore.[12] Despite the actors wearing the same clothes for days on end, Moore told the Los Angeles Times, park personnel never appeared to notice them,[3] save for one day near the end of filming when Disneyland security thought they were paparazzi harassing a celebrity family.[15]
The film was shot using the video mode of two
Actors and crew used their
After the location filming, production went back to
The post-production tasks were as challenging as the production itself.
Sundance
Moore submitted the film to the Sundance Film Festival, where many independent films seek distributors. He had little hope that it would be accepted due to the festival's corporate sponsors. But Trevor Groth, the festival's new director of programming, was "blown away" by Escape from Tomorrow, and accepted it for the festival's non-competitive "Next" category, for films that transcend the limitations of the low budgets common to most independent films.[3]
When the 2013 festival began in Park City, Utah, the secrecy about the film continued. The festival's website only identified the setting as a theme park.[9] Nan Chalat-Noaker, critic for the Park Record, recalls that the festival and even the film's publicist were unwilling to share further details about the film, but strongly urged critics to see it. In her review, she declined to identify the setting of the film by name, although she dropped broad hints, out of fear it would alert Disney's lawyers. The premiere, on the festival's first night, was not fully attended; when word got out to the attendees, all the other shows were effectively sold out.[16]
Reception
On review aggregation website Rotten Tomatoes, the film has an approval rating of 58% based on 88 reviews, with an average rating of 6/10. The site's critical consensus reads: "Conceptually audacious but only intermittently successful in execution, Escape From Tomorrow is nonetheless visually inventive and darkly surreal."[17] On Metacritic, the film has a score of 58 out of 100, based on 27 critics, indicating "mixed or average reviews".[18]
Before the
It is not possible that this film exists. It is not possible that they shot long scripted sequences on the actual rides. It is not possible that I just saw a film in which it is suggested and then shown that the various Disney princesses all work as high-priced hookers who sell their wares to wealthy Asian businessmen. It simply cannot be true.
I grew up in Florida, and I have been going to Walt Disney World my entire life. I worked at that park. I've been there as a child, as a teenager, as an employee, and as a parent. I've done Disney sitting on my father's shoulders, and I've done the Disney parks with my kids sitting on my shoulders. It is a huge part of my DNA, and I can tell you that there is no way Randy Moore pulled off what I saw tonight. It is a film that should not exist by any rational definition.
And yet... not only does it exist, but it's fascinating.[19]
He allowed that it was "undisciplined at times, rough around the edges in places, technically uneven, and there's no sense of pacing to it at all. Even so," he concluded, "there is a sort of naive charm that makes it impossible to look away."[19]
Other critics concurred that the film had artistic merit. "[W]atching Moore's noir tale is like being super-glued to your seat while getting poked in the eye," Chalat-Noaker wrote. "It's both fascinating and repelling."
While they conceded the film's audacious production made it worth their time to watch, other critics found flaws.
The film premiered on October 11, 2013, opening in thirty theaters in the United States, eventually reporting total box office grosses of $171,962.[1]
Legal issues
Many journalists who saw the film at Sundance speculated that it was likely that Disney would take legal action to prevent the film from being shown outside the festival, or perhaps during it. "Disney's lawyers are probably climbing onto helicopters and planning a raid on Park City right now," wrote McWeeny.[19] Critics urged others present to see it before it was too late, and commented that it was questionable if those not present at the festival would ever have an opportunity to see it.[20][22]
However, others noted that if Disney had attempted to block the film's release, it was unclear on what legal grounds it could be done. Moore took care to avoid direct copyright infringement of songs or films played as part of attractions, and intellectual property law is less clear on the other aspects of the film. Science fiction writer Cory Doctorow, who distributed his first novel, Down and Out in the Magic Kingdom, set in a 22nd-century Disney World, under a Creative Commons license, believes there's at most "a possible trademark claim, and I suppose that Disney could conceivabl[y] bring suit for violating the park's terms of use, but these are much harder cases to make than copyright."[25]
Columbia Law School professor Tim Wu did not think Disney would have any defensible intellectual property claim. "Though the filmmakers may have committed trespass when they broke Disney World's rules and if it violated the terms of entry on their tickets, the film itself is a different matter," he wrote on The New Yorker's blog. "As commentary on the social ideals of Disney World, it seems to clearly fall within a well-recognized category of fair use, and therefore probably will not be stopped by a court using copyright or trademark laws."[26]
Despite the film's repeated use of Disney's characters and iconography, Wu explained, trademark law was not sufficient. "Disney does not have some kind of general intellectual-property right in Disney World itself." To make a trademark-infringement case against Moore, he continued, Disney would have to convince a court that the use of its protected imagery in the movie could reasonably lead viewers to believe that it had a role in the film's production, and he did not think that was a plausible argument. "The scene where a Disney Princess attempts to crush a child seems to eliminate that possibility."[26]
As for copyright, Wu saw Moore's use of the Disney parks as
... [H]is use of Disney World is not as simple window dressing; he transforms it into something gruesome and disturbing—a place where, for example, guests are sometimes tasered and have their imaginations purged ... It might be a violation if Moore had made a film designed for viewers who wanted to see Disney World but were too lazy to go to Florida. Escape from Tomorrow, however, is clearly no substitute for buying a ticket.[26]
As such, he saw the film as offering artistic commentary on the cultural impact of Disney, and thus clearly falling under fair use. Wu likened it to a 1990s case brought by Mattel against artist Thomas Forsythe, after he sold some of his photographs depicting another American icon, Barbie, being eaten by vintage appliances as a way of calling attention to the toy doll's role in promoting the objectification of women in American culture. Not only did the court dismiss Mattel's complaint, "[t]he judges were so annoyed by the lawsuits that they awarded attorney's fees of nearly two million dollars to the artist ... A judge has to think of the First Amendment when asked to ban art work."[26]
In his /Film review, Sciretta raised another issue:
Intellectual property and copyrights aside, many people appear in this film who have never signed a release. Real families and children are seen in the background of almost every shot. None of them gave permission or knew they were being filmed for a feature film.[15]
At Slate, Aisha Harris allowed that this was a possibility, especially if children were filmed without their parents' consent, but noted "the law on that issue is not black and white either."[27]
Response by Disney
Disney did not return reporters' calls or emails for comment, nor did it take any legal action during the festival, although it confirmed to CNN that it was "aware" of the movie.[28] Despite critical apprehension that the film would never be shown outside the festival, some observers saw the situation as more complex. Were Disney to attempt to forcefully suppress the film, that effort could serve to draw even more attention to it,[13] a phenomenon known as the Streisand effect.[29]
Michael Ryan, director of The YoungCuts Film Festival, noted that there was a precedent for the film in the Air Pirates lawsuit, in which Disney spent eight years in court with some underground cartoonists who had published an underground comix parody in which Mickey Mouse and the other Disney characters engaged in explicit sex and used illegal drugs, among other behavior they avoided in Disney's own narratives. He suggested that Disney buy the rights and release the film itself, which it could easily do as its announced interest would guarantee it a monopsony on the film since no other distributor would want to match Disney's deep pockets or its feared legal response. As a Disney release, Escape from Tomorrow would have a large potential audience of both Disney enthusiasts and antagonists, Disney would be making money from property it already owns instead of someone else and the company's apparent willingness to go in the joke would take some of the satiric edge off.[29]
Moore expressed hope that the film could be shown and released, even if it meant a legal battle.
It depends on how good a case lawyers can make for it. If they say I have a chance, I'll definitely fight for it. I worked on it really hard for three years and it took a lot out of me. Just to let it disappear would be a waste of time.
Disney A to Z: The Official Encyclopedia includes an entry for Escape from Tomorrow, describing it as "An independent surrealistic cult film surreptitiously filmed at Walt Disney World and Disneyland."[7]According to The Hollywood Reporter, Disney chose to avoid responding to the film altogether, rather than seeking legal action, in an effort to prevent increased publicity.[30]
Awards
Award Category Nominee Result Ref(s) IFMCA AwardComposer of the Year Abel Korzeniowski for Romeo & Juliet and Escape from Tomorrow Won [31] Best Original Score for a Fantasy/Science Fiction/Horror Film Abel Korzeniowski Nominated Film Music Composition of the Year "The Grand Finale", music by Abel Korzeniowski Nominated See also
- Winnie-the-Pooh: Blood and Honey, a similar horror film involving Disney characters
References
- ^ a b "Escape from Tomorrow". Box Office Mojo. Retrieved March 5, 2018.
- ^ "Chiller | Scary Good". Fearnet.com. Retrieved August 16, 2016.
- ^ a b c d e f g h i j Zeitchik, Steven (January 19, 2013). "Sundance 2013: How did a newbie make an unapproved film in Disney parks?". Los Angeles Times. Retrieved January 21, 2013.
- ^ a b Davis, Erik (January 21, 2013). "'Escape from Tomorrow' Cinematographer Explains How He Shot an Entire Movie Secretly in Disney Parks". Retrieved January 24, 2013.
- ^ Jones, J.R. (October 23, 2013). "All the Disney World's a stage in Escape From Tomorrow". Chicago Reader. Retrieved November 17, 2013.
- ^ Goss, William (January 20, 2013). "Sundance Review: 'Escape From Tomorrow' Takes Viewers On A Mind-Melting Vacation from Hell". IndieWire. Retrieved January 24, 2013.
- ^ a b "Disney A to Z: Escape from Tomorrow (film)". D23: The Official Disney Fan Club. August 7, 2013. Retrieved August 7, 2013.(subscription required)
- ^ Zeitchik, Steven (August 19, 2013). "Guerilla Disney film 'Escape From Tomorrow' headed to theaters". Retrieved August 19, 2013.
- ^ a b c "Escape From Tomorrow". Sundance Film Festival. 2013. Retrieved January 22, 2013.
- ^ a b Macaulay, Scott (January 19, 2013). "The Outlaw Pleasures of Escape from Tomorrow". Filmmaker. Retrieved January 22, 2013.
- ^ a b c d e f g Kohn, Eric (January 27, 2013). "Sundance 2013: 'Escape From Tomorrow' Director Randy Moore Says "I'm a Product of Disney World"". IndieWire. Retrieved January 28, 2013.
- ^ a b c d e f Schoenbrun, Dan (January 19, 2013). "Five Questions with Escape from Tomorrow Director Randy Moore". Filmmaker. Retrieved January 22, 2013.
- ^ a b c d Barnes, Brooks (January 21, 2013). "It's a Grim World, After All". The New York Times. Retrieved January 21, 2013.
- ^ "Missing in the Mansion". Daws Brothers Studios. 2011. Retrieved January 22, 2013.
- ^ a b c d e f g h i j k Sciretta, Peter (January 21, 2013). "'Escape From Tomorrow': A Feature Film Shot in Disney Theme Parks Without Disney's Permission [Sundance 2013 Review]". /Film. Retrieved January 22, 2013.
- ^ a b Chalat-Noaker, Nan (January 19, 2013). ""Escape" takes audience on horror-filled roller coaster ride". Park Record. Park City, UT. Archived from the original on April 10, 2013. Retrieved January 23, 2013.
- ^ "Escape From Tomorrow (2013)". Rotten Tomatoes. Retrieved July 1, 2023.
- ^ "Escape from Tomorrow reviews". Metacritic. Retrieved January 17, 2016.
- ^ a b c McWeeny, Drew (January 19, 2013). "'Escape From Tomorrow' is a surrealist treat that will give Disney's lawyers nightmares". HitFix. Archived from the original on January 23, 2013. Retrieved January 23, 2013.
- ^
Indiewire. Retrieved January 23, 2013.- ^ Movie Review - 'Escape from Tomorrow' - An Decidedly Un-Disneyfied Day At The Theme Park : NPR
- ^
CraveOnline. Archived from the originalon January 25, 2013. Retrieved January 23, 2013. Scott, A.O. (October 10, 2019). "Whoa, Are Snow White and Mulan Really Working the Street?". The New York Times. Retrieved October 23, 2019.- ^ "'Escape From Tomorrow' movie review". The Washington Post.
- ^ Doctorow, Cory (January 21, 2013). "More on "Escape From Tomorrow," the guerrilla art-house movie shot at Walt Disney World and Disneyland". Boing Boing. Retrieved January 23, 2013.
- ^ a b c d Wu, Tim (January 22, 2013). "It's a Mad, Mad, Mad, Mad Disney World". The New Yorker. Retrieved January 23, 2013.
- ^ Harris, Aisha (January 23, 2013). "Will Disney Let You See This Movie?". Slate. Retrieved January 23, 2013.
- ^ Carey, Matthew (January 24, 2013). "Why Disney might want to 'Escape From Tomorrow'". CNN. Retrieved January 24, 2013.
- ^ a b Ryan, Michael (January 23, 2013). "Escape From Tomorrow' and The Air Pirates". SoundOnSight.org. Archived from the original on January 26, 2013. Retrieved January 24, 2013.
- ^ Abramovitch, Seth (September 18, 2013). "Disney's Non-Strategy Strategy to Combat Unauthorized Disneyland Horror Movie". The Hollywood Reporter. Retrieved September 18, 2013.
- ^ "Abel Korzeniowski receives IFMCA Awards for Romeo & Juliet, Composer of the Year". March 24, 2014.
External links
- Escape from Tomorrow at
IMDb- Escape from Tomorrow at the TCM Movie Database
- Escape from Tomorrow at Rotten Tomatoes
- Escape from Tomorrow at Metacritic
- Escape from Tomorrow at AllMovie