Niagara Gazette — Lucas Lee Graham receives credit for the superb cinematography, and Soojin Chung is credited for the sharp editing. Equipment consisted of two Canon EOS 5D Mark II cameras and one Canon EOS 1D Mark IV camera. These are single-lens reflex cameras, primarily used for still photography, not video. As seen on-screen, the results of their video capability is outstanding. Cast and crew communicated with iPhones, and the cast was wired with recording devices.
The crisp black and white cinematography creates an expressionistic mood that gives the theme park a risk-filled look, thus keeping the audience off-balance. There are things in the movie you've never seen before.
The story is about the last day of one family's visit to Disney World. The father gets a phone call telling him he's fired from his job. He chooses not to tell his wife, who has been an annoying nag and will continue to be so. His little son and daughter whine a lot. They leave their messy hotel room and go back to the park.
Disney World is supposed to be the "Happiest Place On Earth," but it turns into a nightmare as the father slowly descends into a mental breakdown, first obsessing over two French teenage girls, who hold allure for him, and then hallucinating about animatronic creations seizing his mind. Soon his head might as well be the Epcot Center's symbolic globe and his body might as well be feline hell. Disney World has never seemed this dangerous.
Moore has gotten good performances from his cast, including some off-beat side characters. The core family is well-played by Roy Abramsohn (the dad), Elena Schuber (the mom), Katelynn Rodriguez (the daughter), and Jack Dalton (the son).
Moore’s film undermines the notion that Disney's perfect world is all sugar and smiles. Orlando, Fla., is hot and humid. Lines are long. And children become monumental brats.