Resuscitation of the acclaimed 1996-97 series that picks up nearly a decade later. We again follow the exploits of George Findlay in this biting satire of the day-to-day operations of the mainstream news media.
In a Toronto TV station, the newsroom is headed by a ratings freak. There is nothing George won't do! He is surrounded by a self-absorbed news anchor man who is as dumb as they come, a ... See full summary »
When we meet George (Ken Finkleman) again, he's no longer trying to be... well, such a good dog. Ditched by his live-in girlfriend Claire, it's onward and upward for George, who reconnects ... See full summary »
A cheerfully gullible college graduate embarks on a journey into adulthood that whisks him into the insanity of 21st century America, where he is beset by a parade of gun-crazed zealots, ... See full summary »
Upon graduation from college with a business degree, John Issel is promptly hired by Helmes's company I.N.C. At INC, the one who gets ahead, does it by kissing ass, or over someone else's ... See full summary »
With his new reality show in jeopardy, George, a self-absorbed and neurotic TV producer, caves in to network demands and asks his young girlfriend, Claire to move into his house, but she doesn't move in alone.
Lauren Lee Smith,
Appreciating Finkleman's genius is hard to do... I certainly cannot.
"Escape" begins much like "The Newsroom" did. Finkleman is marvelous with his dialogue. We don't have Mark Farrell or Tanya Allen anymore, but Christian Potenza and Regean Pasternak are worthwhile replacements.
The film reaches a point in which Finkelman's trademark surrealism takes over, and this film jumps into the realm of "art" rather than "entertainment", complete with a blunt damning of the whole concept of reviving this show! Unfortunately, while The Newsroom quite often provided great entertainment, the "art" that is "Escape" does not.
Escape continues the tone established by More Tears, Foolish Heart, and Foreign Objects, none of which were nearly as successful as The Newsroom was, with good reason. Dry, biting satires are wonderful if done with some entertainment value, but lose their effect when they're just downright inaccessible, as this film had become. It's hard to be entertained at jokes about people dying from Anthrax.
Things do start to make sense at the end - you realize what Finkleman wanted to say and he then returns to the same lovable humour we've come to expect from him. Now that his point has been made (roughly 10 times now, from all of his series), he can get back to writing the wonderful satire we've come to enjoy so much.
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