Watch escape from tomorrow tv#

Whether he is suffering one of his regular ‘blackouts’ to which his wife alludes, the nervous breakdown of a midlife crisis, the effects of excessive alcohol, the febrile ravages of ‘cat flu’, the enchantments of witchcraft, or the mental manipulations of a decades-long corporate conspiracy, Jim is in for one hallucinatory ride. Jim’s exclusion foreshadows alienation and entrapment to come.įor the rest of the day, as this dysfunctional clan wanders and separates and bickers its way through various family attractions, Jim will, despite his boss’s words, let his imagination run wild. When Jim finishes the phone call to his boss, Elliott locks the balcony door on him and, in an Oedipal act, takes his father’s place in the bed beside the sleeping Emily. Middle-aged, overweight and in a sexless marriage, Jim is an adult in a place of entertainment for children, dreaming about what might have been as his gaze and thoughts stray to a pair of much younger, carefree French girls (Danielle Safady, Annet Mahendru) whom, throughout the day, he will creepily stalk through the theme park, in search of his own lost, perhaps irrecoverable, youth.

This is, in other ways too, a transitional period for our schlubby hero. It’s a transitional period.” It is Jim’s last day at Disney World with his wife, Emily (Elena Schuber), and their children, Sara (Katelynn Rodriguez) and Elliott (Jack Dalton), and he has just been fired over the phone. “Jim, listen to me,” says the voice on the other end of the phone, “Don’t let your imagination run wild. “What? I don’t understand,” says Jim White (Roy Abramsohn), dressed only in his boxers early in the morning on the balcony of his hotel room. Even so, while Escape From Tomorrow hardly represents a direct attack on Disney, it certainly works overtime to undermine the company’s carefully controlled image of wholesome family fun, right from that opening scene with its roller coaster ride that ends in an abrupt decapitation. In the end, Disney preferred to ignore what was clearly a marginal film than to block its release through the courts, perhaps in fear of the Streisand effect. Fearful that Disney would catch wind of what was going on and send in its lawyers, Moore had the film edited (by Soojin Chung) in South Korea. Much of Moore’s film was shot guerrilla-style on location at Disney World and Disneyland, without any kind of permission or authorisation, on small digital cameras that made the crew blend in with the real tourists.

Yet from its very first images of people having fun at Disney World, with the geodesic sphere of the then Siemens-sponsored Spaceship Earth visible in the background, it becomes clear that both organisations are going to be playing a prominent, albeit involuntary, role.

Even if Abel Korzeniowski’s score comes with a soaringly romantic orchestral quality that conjures classic Hollywood, Escape From Tomorrow is the very opposite of a corporate or studio picture. This might seem a strange way to begin a monochrome film that is, from the outset, very obviously a low-budget indie that at times resembles – with good reason – a holiday video. Randy Moore’s feature debut opens with a textual disclaimer insisting that it is a work of fiction, and denying any involvement in its production from either the Disney Company, the Siemens Corporation, or any of their affiliates.

Watch escape from tomorrow tv#

Watch Escape from Tomorrow online in the UK: Apple TV (iTunes) / Prime Video (Buy/Rent)