Tim’s review published on Letterboxd:
It's impressive how the crew behind Escape from Tomorrow managed to shoot an entire feature length film at one of the most heavily protected tourist attractions in the United States. More impressive, however, is that it actually manages to look somewhat decent. Which, by all means, could be attributed to the film's choice to be presented entirely in black and white. A stylistic choice that I predict was chosen, in part, due to how it hides some of the more obvious visual blemishes.
Escape from Tomorrow is an interesting film, to say the least. While I can't say that I'm a fan, I don't necessarily regret watching it. Despite my view that this is very much a poor attempt at an interesting concept, Escape from Tomorrow is not completely without merit. There is a certain nightmarish quality to the presentation that I feel works to great effect, especially when complimented by the uneasy, and borderline aimless, structure of the film's narrative. And although as the story progresses and quite a few questionable choices are made, I can't say that I was ever completely bored or in total disgust at what I was seeing.
But, alas, the rating is there for a reason and Escape from Tomorrow is certainly not above scrutiny. The second half or so loses a lot of the novelty found in the film's first half, and it does go kind of completely off the rails. Which is fine, I guess, but I'm not sure if it gelled together all that well, or even compliment whatever vague and ham-fisted message about consumerism, capitalism, or whatever that it was trying to send. Much of the acting and dialogue is very poor and, although I made positive note of the film's visuals, there are some genuinely horrendous green screen effects scattered throughout.
And speaking of metaphors, messages, allegories, or whatever. This is a very juvenile film and whatever statement Randy Moore was intending with Escape from Tomorrow did not translate to the screen at all. Most of what I got was that this is about some guy, having a mid-life crisis, who hates his kids and creepily stalks some underaged French teenagers.
Though it is undeniably ambitious, admirably original, and a clear product of passion (I mean, why else would Moore risk his entire livelihood, sticking the finger to the mouse, for all of this?) Escape from Tomorrow is ultimately an uneven garbled mess that doesn't amount to much at the end of the day.