When I first heard about the film “Escape from Tomorrow,” I couldn’t wait to see it.

Unfortunately, my expectations for a groundbreaking experimental film were too high. Although conceptually important, “Escape from Tomorrow” is devoid of meaning and falls flat as a modernist film for film’s sake that does little to advance the craft of filmmaking.

The film was shot guerilla style in both Disney World and Disneyland. The story itself revolves around a man, Jim, who loses his job during his family vacation and descends into madness. The viewer wonders if the plot is all really happening or if Jim’s imagination has gotten the best of him.

The most amazing thing about this film is that it exists. This month it became available to wide audiences via Video on Demand. Unfortunately though, “Escape from Tomorrow” is a missed opportunity to have made something far more impressive.

When the film premiered at the 2013 Sundance film festival, the buzz wasn’t around the content of the work, but rather if it would ever see the light of day. Disney has historically been absolutely venomous about protecting its copyrights and holdings.

Writer and director Randy Moore was diligent to avoid using the copyrighted songs and films that are signatory of so many of its attractions.

Despite the hype about “Escape from Tomorrow,” people have shot controversial films in Disney Parks before. Moore could have looked to artists like Banksy and Mr. Brainwash, who shot a short there in 2010, as did Josh and Jeremiah Daws with the viral found footage short “Missing in the Mansion” in 2011. Both pieces are significantly better than Moore’s full-length feature.

“Escape from Tomorrow” is disappointing because it lacks innovation.

This film is credited as groundbreaking, yet it’s full of tropes and, overall, disjointed. The premise promises to be something like we’ve never seen before, but it is something we have seen before.

Terror and the surreal juxtaposed with innocence and happiness have been done so many times before. After the first hour of the film, the excitement of being in Disney World wears off, and the viewer is conscious that he or she has seen lots of films just like this.

The characters — especially the villains — lack motivation and connection to one another. Sometimes it seems like the main enemy in this film is Disney, but too many antagonists with too many individual goals make it even harder to discern what this story is really about.

We can be sure that Randy Moore takes issue with Disney and what the company represents, which is why he made this film. But this vision is executed in a narrow-minded way. He doesn’t attack corporate greed or Disney’s social issues. He just uses Jim’s grumpiness and detachment as the engines. It’s not enough. The idea of a cranky dad with a wandering eye, who is bummed out he’s at Disney World, is all that courses through the film. Moore ignores the potential for a more fleshed out story.

Modernist film offers plenty of examples that show that the genre is meant to be inventive and interesting. It forwards the craft of filmmaking.

Moore is clearly reaching for something Fellini-esque, but falls short. You also can’t help but compare “Escape from Tomorrow” to the movie magic and innovations of Disney. This juxtaposition makes this film seem even duller.

Ultimately, “Escape from Tomorrow” is a little bit like being in a theme park. You’re excited when you first get there, but after a little while, the magic wears off and you’re tired of walking around.

Cassie-lee Grimaldi is a senior television, radio and film major. Her column appears weekly. She can be reached at [email protected] and reached on Twitter @cassiegrimaldi.

Published on November 18, 2013 at 1:20 am