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 »
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
Approximately one second before the WHITE NOISE title card appears [00:01:35 in], there is a split-second subliminal "flash" image of a skeletal figure. Immediately after the final blackout at the end of the film there is another "flash" image, this time (presumably) of Michael Keaton, which fades into the static. See more »
When Rivers first encounters Price, Price places his business card atop a circular-shaped thing in the doorway of the building. After a shot of Rivers and Price, the card disappears. Price walks away, we cut back to Rivers and the card reappears on the wall. 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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