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Reviews provided by RottenTomatoes
Bilge Ebiri, New York Magazine/Vulture: A borderline-experimental miasma of sexual neuroses, macho angst, regressive frenzy, and fevered paranoia. Read more
Lou Lumenick, New York Post: Basically, the whole thing can be summed up as an epic midlife crisis. Read more
Moira MacDonald, Seattle Times: Aside from the outlaw aspects of the filming, it's never quite as interesting as you want it to be. But who knew that the Happiest Place on Earth could be so convincingly cast as a shadowy fever dream? Read more
Rob Nelson, Variety: A sneakily subversive exercise in low-budget surrealism and anti-corporate satire. Read more
Bill Goodykoontz, Arizona Republic: "Escape from Tomorrow" is a much better idea than movie. Read more
Peter Keough, Boston Globe: Moore's sometimes surreal, sometimes sophomoric, black comic phantasmagoria, makes for a bumpy theme park ride. Read more
J. R. Jones, Chicago Reader: It feels much like a theme park itself -- really exciting at first, but then your senses are dulled, and eventually you just want to go. Read more
Todd McCarthy, Hollywood Reporter: A one-of-a-kind piece of subversive surrealism filmed clandestinely at Disney World is far too haphazard, but offers images that will long stick in the mind. Read more
Inkoo Kang, Los Angeles Times: First-time director Randy Moore achieves stunningly beautiful compositions made all the more impressive by the difficult circumstances of the shooting. Read more
Rene Rodriguez, Miami Herald: Writer-director Randy Moore channels everything from "The Shining" to David Lynch's "Eraserhead" to depict a family's gradual disintegration in what is supposed to be the happiest place on Earth. Read more
Richard Brody, New Yorker: The effects-heavy movie flies off into exotic yet inconsequential science-fiction visions; Moore's view of the macabre in the banal is a tepid successor to David Lynch's. Read more
Stephen Whitty, Newark Star-Ledger: "Escape From Tomorrow" delights in randomness, stumbling down one rabbit hole after another. Nothing really builds, from one scene to the next; it's like doing a Sudoku puzzle in disappearing ink. Read more
Ella Taylor, NPR: Escape From Tomorrow soon turns into an endless loop of Expressionist symbolism, scoring its blunt points over and over until at last it limps off the screen, trailing suggestions of a reboot with altered players. Read more
Elizabeth Weitzman, New York Daily News: Moore shows promising ingenuity in shooting parts of the movie covertly, within the notoriously restrictive Disney World resort. But his script never takes the same sort of risk. Read more
A.O. Scott, New York Times: None of it is as scary or as funny as it should be, and what starts out as a sly thumb in the eye of corporate power ends up as a muddled and amateurish homage to David Lynch. Read more
Michael Sragow, Orange County Register: Is this satire or parasitism? Read more
Mick LaSalle, San Francisco Chronicle: As a movie, "Escape From Tomorrow" is at best pretty good, but the way it was made makes it something unique, possibly memorable. Read more
Colin Covert, Minneapolis Star Tribune: Definitely a great stunt, but you spend the film thinking how much more the "Jackass"/"Bad Grandpa" crew could have done with a premise like this. Read more
Liam Lacey, Globe and Mail: Suggests an R-rated Twilight Zone episode with a twist of Fellini-lite, in a trite film school kind of way. Read more
Peter Howell, Toronto Star: It's really just a middling fantasy about a middle-aged dad having a meltdown during a family vacation to the Magic Kingdom, with a few scattered sci-fi and horror elements thrown in. Read more
Todd Gilchrist, TheWrap: Randall Moore's film feels, quite frankly, like a Disney-fied version of a David Lynch film, exposing the underbelly of an American institution without offering any sort of real critique and featuring characters too unlikeable to care about. Read more
Keith Uhlich, Time Out: What we're left with are a bunch of unseasoned performers and a first-time filmmaker clearly out of his depth ... Read more
Ernest Hardy, Village Voice: Moore lacks the off-kilter psychological nuances of Lynch, as well as the go-for-broke storytelling skills and visual elan. It doesn't help that the cast is largely competent at best. Read more
Michael O'Sullivan, Washington Post: Are the fantasies of a dirty middle-age man, drooling over underage girls in short shorts and grown women dressed as cartoon characters, really something to aspire to? Read more