Escape From Tomorrow, the horror movie secretly shot at Disney World

this looks nuts!

trailer here: http://www.firstshowing.net/2013/watch-first-trippy-trailer-for-escape-from-tomorrow-sundance-indie/

http://thedissolve.com/news/433-a-glimpse-of-tomorrow-in-the-escape-from-tomorrow-/

surprised this guy is not getting sued out of existence, if not for the filming then for this poster: http://www.firstshowing.net/2013/clever-but-misleading-poster-for-bizarre-indie-escape-from-tomorrow/

(Beware the Mouse)

will watch

you'd think more people would do stuff like this. just lazy i guess. romcom in a walmart would be good.

http://upload.wikimedia.org/wikipedia/en/6/6f/Where_the_heart_is_poster.jpg

https://www.youtube.com/watch?v=opt_pu3NVrI

WARNING: Do not click this link...
http://viooz.co/movies/22573-escape-from-tomorrow-2013.html

the reviews of this have been meh at best... I didn't know it was trying to be kind of a real horror film, who needs that?

Walter Chaw loves it:

The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow": the idea that things only gain definition in direct relationship to other, accepted concepts. When Jim muses, then indulges, in adultery at Disney World, it's more meaningfully empty, frivolous, and destructive than if he did the same thing in his suburban reserve. That it's not entirely clear whether he's indulged in more than a fantasy of adultery (and a rather sordid one at that), however, adds a layer of complexity to distinguishing "reality" from fantasy in a film that was shot on the sly and augmented, obviously, by some trickery that is too obvious to be an accident, given the professionalism of the rest of it. What I'm saying is that Escape from Tomorrow speaks truly about the nature of film as representational art by attacking Disney World as essentially a totalitarian state built on anti-Semitism, vengeance plots, and misogyny masquerading as empowerment. By suggesting, as the picture does, that all the Disney princesses are high-dollar hookers servicing Arab johns is a not-subtle swipe at American oil interests on the one hand, but more compellingly a metaphor for just exactly what's being packaged and sold in that one money shot of The Little Mermaid beaching herself on a rock as an orgasmic spray of foam erupts around her. At the end, after a surreal moment in the Siemens Epcot Dome, a wonderful visit to a park nurse (Amy Lucas), and the contraction of a deadly disease whimsically-named, Escape from Tomorrow lands as a debut as smart in its way, as disturbing and incisive, as David Lynch's Eraserhead. It's imperfect, and even that's part of its overall effectiveness.

I'm sure it's probably terrible but I want to see it anyway

Saw it. It's substandard MST3K season 8 material. Not sure if I could even work up a "meh." The Disney-critique meets Carnival Of Souls hype is just cheap speckling.

This could have been so, so great but it just misses the mark. I loved the cinematography and some of the soundtrack choices, but it clearly needed a much more polished script, better editing... not to mention acting. Such a wasted opportunity.

but

The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow": The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow":The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow":The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow": The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow": The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow":The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow":The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow": The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow": The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow":The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow":The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow": The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow": The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow":The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow":The contextual issues raised by Escape from Tomorrow are of the same species as those raised by William Carlos Williams's "Red Wheelbarrow":

http://www.stim.com/Stim-x/0796July/Features/deathline.html

From... http://pioneerspress.com/catimages/image_1631_lg.jpg!

it's fucking terrible by the way.

everyone OTM its pretty bad but still worth seeing just for how weird and unique it is imo

bummer. I will still probably watch at some point. it's on Time Warner on-demand in NYC fwiw.

Down to $3.99 on Amazon, so I caved. Great concept, rough execution.

I found this inexplicably amazing and everyone should give it a shot. Some huge misses at times, but when it's on, it's really really on. I think I kinda love it.

probably the worst movie that i'll still recommend people watch

Good gravy this is some fresh garbage. Awful.

https://www.youtube.com/watch?v=vhe3vSe-mmw

Watched this the day after coming back from Walt Disney World. Yes, the story doesn't make much sense, yes, it does too much to remind viewers directly of What's Going On, but I really really liked it and it made me viscerally uncomfortable and nauseated as a good horror movie should. Maybe "directly after visit to WDW" is the only appropriate mode for seeing this.

Just watched this on netflix. I thought it was pretty fun tbh but massively tonally inconsistent. Like, some of the time it wanted to be Lynchian arthouse mental breakdown film, sometimes it wanted to be Braindead, sometimes it seemed to want to turn into a really shit sex comedy. And the main guy's acting left a fair amount to be desired. I'd probs give it 6/10 for entertainment value.

though i mentioned curiosity about it in the pants-shitting horror thread, i'm surprised i never said anything else, either there or here. i think i liked it a tiny bit more than you, emil.y, but not enough to make a big deal over. viewing it as an ambitious but essentially "homemade" piece of guerilla cinema helps paper over some of its flaws - ropy acting, tonal inconsistency, goal confusion. agree w/ what jjj said in the horror thread, that the bad & awkward jokes help amplify the lynchian creep factor, though i'm not so convinced that the effect is 100% intentional.

The movie's attempts at bizarro gross-out humor aren't jarring or button-pushing enough to get under your skin in the way they seemingly intend to. Mostly it's just dumb and puerile.

Tim and Eric do this kind of thing better.

can't believe this thread doesn't have alfred post about getting drunk at epcot

the bad & awkward jokes help amplify the lynchian creep factor

Nah, disagree with this. If you were making a case for the glaring use of green screen amplifying the weirdness, that I would agree with, or even the ropy acting, yeah sure I'll accept that. But the jizz jokes etc were just pretty obvious jizz jokes, that I confess I giggled at b/c I have a very puerile sense of humour, but they totally shifted the mood of the film and my response to it. I felt that some of the psychological response to the sensory overload of Disneyland was so perfectly done, but the psychosexual bits were either the aforementioned shit jokes or seemed like the actions of a perfectly sane skeezy creepy dude, not an indication of a deep troubled mind/shifting reality.