Over the course of that day, as Jim and his family enjoy the park’s rides and the “ Soarin’ ” hang-glider simulation at Epcot, Jim begins to experience a breakdown, characterized by what looks like a cut-rate form of surrealism. On the last day of their vacation, Jim gets a phone call from his boss telling him he’s fired. The story focuses on Jim (Roy Abramsohn), an average American schlub on holiday with his wife, Emily (Elena Schuber), and two kids (Katelynn Rodriguez and Jack Dalton) at Disney World. The handful of scenes that Moore shot using a green screen look obviously digitally composited. Of course the film’s back story, which involved guerilla-style shooting disguised as normal tourist videography, is kind of fascinating. Absent a legal brouhaha, there’s not a whole lot to be curious about here. If it had, the controversy might actually have helped the film, which is juvenile, disjointed and pointlessly revolting at times, although there are a few moments of disturbingly stark visual beauty. That’s mainly because everyone expected the normally litigious company’s lawyers to slap the film - which compares the park’s costumed princesses to prostitutes, among other affronts - out of the projector before it got commercially screened. Shot surreptitiously at Disney World with a hand-held camera, and portraying the theme park as a nightmarish place closer to the heart of David Lynch than Walt Disney, the black-and-white indie horror film by first-time filmmaker Randy Moore was the talk of this year’s Sundance Film Festival. Though sometimes characterized as the movie that Disney doesn’t want you to see, “ Escape From Tomorrow” might be better described as the movie that Disney hasn’t said boo about - yet.
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