Escape
You Can't Run From God.
You Can't Run From God.
Drama, Thriller
-
2012
Available on
Country
Husband and wife doctors Paul and Kim Jordan need a drastic change. Distraught by the inexplicable death of their baby, Paul (C. Thomas Howell) convinces Kim to abandon their American lives and join a medical mission in Thailand. It seems to be just the distraction they need, until the day Paul is kidnapped by human traffickers who need a surgeon to operate on their wounded leader. Kim is left alone in a strange country, trying desperately to find her husband with no proof of what happened. While captive on the gangs' secluded island, Paul is caged with Malcolm Andrews (John Rhys-Davies), an Englishman being held for ransom. With nothing to do but talk, the two men quickly clash over philosophy, as Malcolm relies on a bold faith in God and Paul believes no god would allow these evils to happen in the world. Paul takes another hit when he finds his patient's condition much worse than he can handle on his own in such primitive conditions...
Director:
Cast:
Similar
Details
Rated:
N/A
Runtime:
90 min
Release date:
21 Jan 2012
Country:
US
Languages:
English
Budget:
$0
Revenue:
$0
Awards:
N/A
Top Critics Reviews
rotten:
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.
– Colin Covert,
Minneapolis Star Tribune,
14 Nov 2013
rotten:
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.
– J. R. Jones,
Chicago Reader,
31 Oct 2013
rotten:
Suggests an R-rated Twilight Zone episode with a twist of Fellini-lite, in a trite film school kind of way.
– Liam Lacey,
Globe and Mail,
25 Oct 2013
rotten:
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.
– Peter Howell,
Toronto Star,
24 Oct 2013
rotten:
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.
– Richard Brody,
New Yorker,
14 Oct 2013