A teacher opens a time capsule that has been dug up at his son's elementary school; in it are some chilling predictions -- some that have already occurred and others that are about to -- that lead him to believe his family plays a role in the events that are about to unfold.
Anna Rydell returns home to her sister (and best friend) Alex after a stint in a mental hospital, though her recovery is jeopardized thanks to her cruel stepmother, aloof father, and the presence of a ghost in their home.
When the unexpected happens, architect Jonathan Rivers has become a grieving widower, wallowing in deep confusion over the death of his wife. But a paranormal expert approaches Jonathan with the unlikely: the ability to hear his wife from beyond the grave. Through a form of unusual communication known as EVP (Electronic Voice Phenomenon), Jonathan will finally be able to see his wife. But in doing so, Jonathan has drawn himself into a much more complex situation when his curiosity becomes an obsession. Only that obsession will have him confront those not of this world, and some of them don't approve of Jonathan's interference with their destructive nature. 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 »
When John is talking to Mr. Black in the church, their mouths doesn't match the words they say. See more »
You were outside my house and now you're outside my office, so do me a favor, don't insult my intelligence by telling me it's some sort of coincidence.
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Static is heard in the background of the Gold Circle Films logo. See more »
White Noise is a film that takes a true scientific phenomenon, and makes a film out of it. The phenomenon is one which involves electronic recording/broadcast equipment. In amongst white-noise (that crackle and hiss you get on a blank recording) and static on untuned TV reception there are voices and images discernible. Sometimes these voices have been clear enough to work out, and many people believe they are the voices and images of those who have died, trying to contact the living.
In the film, Michael Keaton plays Jonathan Rivers, an estate agent who loses his wife. When he is approached by Raymond, a man who lost his son years ago and claims he has heard from Jonathan's wife, it draws him into the phenomenon, and pretty soon he becomes obsessed, recording his own tapes and viewing/listening to them for messages. Then, suddenly, the messages become clear, and seem to be premonitions. Can he decipher the meaning of the messages, or will he disturb something best left alone? I was uncertain going into the film what to expect. Too many times the film world have come up with a great concept, but failed to deliver anything more than mediocre when it is a horror subject. Expecting another Godsend, I was pleasantly surprised to find a pretty good film, with some nice touches, and chills. Admittedly the story wouldn't look out of place on X-Files, but unlike the recent The Forgotten, it manages to feel complete, and doesn't seem to take the easy option at the end.
The direction by Sax (best know for his TV work such as Tipping the Velvet, Dr Who, Clocking Off, and Spitting Image to name a few) is more than sufficient, and he uses the white-noise to great effect. A little buzz here, and flicker there all serve to unnerve, and you could be forgiven for thinking you are watching another Japanese adaptation. There are a lot of similarities to eastern horror throughout, the use of silence the unnerve, the distorted images in the TV sets, and so on. Only the occasion "music to let you know you should jump" lets down the tone.
Nevertheless, with a well woven script which doesn't pander to the lowest denominator, and a sterling performance from Michael Keaton, who hasn't really had a presence on the screen since 1998s Jack Frost, make this an enjoyable little movie which deserves a viewing or two.
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