A woman leaves an abusive relationship to begin a new life in a new city, where she forms an unlikely and ironic relationship with a suicidal hit man (unbeknownst to her). Enter a worn, ... See full summary »
San Francisco police officer Frank Connor is in a frantic search for a compatible bone marrow donor for his gravely ill son. There's only one catch: the potential donor is convicted ... See full summary »
Gordon McLeod is the manager of a second tier Scottish football team. Faced with pressure from his American owner, he is forced to bring on a marquee player to improve the fortunes of the ... See full summary »
An ice hockey star is accosted by a youth gang who attempt to rob him; after he chases them off he catches the youngest member and gives him a ride home, where he meets the boy's mother. A ... See full summary »
Maria Conchita Alonso,
The car of successful author Anna Rivers is found disabled next to the river, the thought being that she accidentally fell into the river while trying to change a flat tire. Her dead body is found upstream several weeks later, consistent with the accidental death theory. Based on incidents around him, her grieving husband, architect Jonathan Rivers, decides several months later to visit with Raymond Price, who approached John prior to Anna's body being found with news that she was trying to contact him from beyond. At that time, John was skeptical of Raymond's claims of electronic voice phenomena (EVP): that he is contacted from the beyond through electronic means - radio, television - which he is able to record. Along with Sarah Tate, another of Raymond's "clients" whose fiancé passed away, John becomes obsessed with EVP as he gets more and more audio and video messages, however fuzzy, from Anna from beyond. That obsession takes a slight change in focus when John believes that Anna ... Written by
The EVP recording from the trailer ("I will see you no more.") that is attributed to a woman named Ruth Baxter who died in 1987, is supposedly a recording from Point Lookout, a "haunted" lighthouse in Maryland, made by an EVP researcher named Sarah Estep. The lighthouse was used as a hospital during the Civil War and some interpretations of the recording believe it to say, "I was seeing the war," or "I was seeing the water." While the recording is said to be authentic by the AAEVP, the Ruth Baxter story is fiction. See more »
Though the story is set in Washington, the filmmakers make no attempt to conceal British Columbia licence plates. See more »
Frank Black - Young Father:
I am grateful for what you did, Mr. Rivers, my son wouldn't be here if it weren't for you, but now I'd like you to leave us alone.
See more »
White static and flickering, subliminal images appear over the opening credits. It then segues into the opening scene. See more »
What a shame it is when a potentially captivating and refreshingly low-key story manages to latch onto your interest at the start and then gradually lets you down further and further until you're left scratching your mystified head by the time it reaches its overdone conclusion. Unfortunately, this is what happened to me by the end of WHITE NOISE.
It wasn't Michael Keaton's fault; it was a pleasure to see him return as the star of a brand new movie once again, looking a bit wrinkled perhaps, but still managing to give a strong and sincere performance. As a man whose wife has recently died, he becomes obsessed with her wandering spirit in the afterlife (not a new idea), apparently getting contacted by her through that funky electrical fuzz business you see on your television screen when there's nothing being broadcast.
The idea of spirits communicating via the airwaves is called EVP (Electronic Voice Phenomena) and there are a lot of people who actually believe in it for real, so I'm not going to make any comments about what I think of that, or them. Let me just say that I'm all for suspension of disbelief when it comes to buying into fantastic films like this, but what I can't tolerate is not understanding what the hell was supposed to be taking place, which is about where I was left stranded when the credits finally began to roll. Much static indeed.
There are occasionally movies like this that have me completely baffled, but if a film fails to make itself clear for me, I tend to consider that to be the fault of the filmmaker, not my own (unless I watched it while I was too tired to focus or something). Well, for WHITE NOISE I was wide awake, bright-eyed and bushy-tailed -- so guess who's to blame?
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