Jim White is an average American family man, mostly content to exist within his humdrum reality. At the tail end of a theme park vacation with his loving wife and two beautiful children, he is awakened by an unsettling phone call from his boss, who tells him that he has lost his job. Unwilling to disturb their sabbatical, Jim holds off on breaking the news to his family so they can enjoy their last day at the idyllic and beloved tourist destination. In desperate need of a distraction, he finds one amidst the long lines at the park—two attractive and fun-loving teenage girls. In his fractured state, Jim falls obsessively in love, making any excuse he can to follow them everywhere. Along the way, his paranoid psyche spirals even further downward, and the fine line between fantasy and reality becomes blurred.
First-time writer/director Randy Moore takes a bold and creative step into uncharted territory, inviting viewers on a surreal, postmodern voyage into the seedy underbelly of family entertainment. –Sundance Film Festival
Having the chutzpah to shoot a clandestine feature at Disneyland/Disney World doesn't mean you end up with a good or worthwhile movie, which is sadly the case here. A few vaguely interesting ideas but, perhaps ironically considering Moore's attempted themes here, it coalesces into nothing more than fleeting moments and wasted time.
Moore funde seu ato de violação ao estresse da felicidade, onipresente na terra dos sonhos. Sim, "você não pode ser feliz o tempo todo", nos martela em sua heresia (im)perdoável. Mas ao faze-lo, nú e cru, se critica tudo o que a Disney é: Uma ilustração perversa das regiões mais obscuras do ser humano, onde a confiança escapa pelos dedos e a fuga não está no amanha, mas no ontem, na ingenuidade de um mundo que se foi