The Line Separating The Living From The Dead Has Been Crossed. The year's most disturbing thriller explores the unsettling possibility that the dead can contact us...all we have to do is listen.
When architect Jonathan Rivers (Michael Keaton) loses his wife in a tragic accident, he turns to the shadowy, unnerving world of Electronic Voice Phenomenon - communication from beyond the grave. But as he begins to penetrate the mysteries of E.V.P., Jonathan makes a shocking discovery: once a portal to the other world is opened, there's no telling what will come through it.
(19 votes)
2.
People have always searched for a way to communicate with the other side--fascinated, motivated, driven to find a way to connect with loved ones who have passed on.
Electronic Voice Phenomenon (EVP) is the process through which the dead communicate with the living through household recording devices. These extraordinary recordings--captured by people all over the world, in their homes, with a simple tape or video recorder--seem to confirm what many of us have dared to believe: it is possible for the dead to communicate with us.
And all we have to do is listen.
Now, from Universal Pictures and Gold Circle Films comes the suspense thriller that explores this very-real, other-worldly communication--White Noise. Tapping into our deepest fears and most profound longings, White Noise forces us to re-examine the world in which we live and, in the process, question our most basic notions about life and death.
Michael Keaton plays successful architect Jonathan Rivers, whose peaceful existence is shattered by the unexplained disappearance and death of his wife, Anna (Chandra West). Jonathan is eventually contacted by a man (Ian McNeice), who claims to be receiving messages from Anna through EVP. At first skeptical, Jonathan then becomes convinced of the messages' validity, and is soon obsessed with trying to contact her on his own. His further explorations into EVP and the accompanying supernatural messages unwittingly open a door to another world, allowing something uninvited into his life.
Despite an abundance of gaping plot holes, White Noise serves up enough spooky atmosphere to make it worth a look-see for fans of supernatural thrillers. Even when hampered with a shoddy, clumsily written screenplay, Michael Keaton brings professional conviction to his role as a grieving widower who is introduced to the mysterious (and according to paranormal researchers, highly documented) existence of EVP, or Electronic Voice Phenomenon, which allows the dead to communicate (one-way only, it seems) from the great beyond, through images and voices recordable on a variety of electronic media such as VCRs, computers, etc. Seeking contact with his recently deceased wife, Keaton finds dire warnings of evil in the afterlife, with connections (all too convenient) to killings and disappearances in his Vancouver, British Columbia vicinity. British TV director Geoffrey Sax brings slick style to this hokum, and a few moments of genuine eeriness, but you may find yourself giggling too much to appreciate the highlights. --Jeff Shannon
(21 votes)
4.
Until the sudden and mysterious death of his beloved wife, architect Jonathan Rivers (MICHAEL KEATON) considered himself a decent, rational man, one who would not ordinarily subscribe to any theories about communicating with the dead. But now, a stranger, Raymond Price (IAN McNEICE), has entered his life, claiming to have heard Jonathan’s wife, Anna (CHANDRA WEST), through EVP. Fueled by his grief as much as curiosity, Jonathan soon finds himself swayed by Raymond’s claims, validated by the recordings of Anna as well as the testimonial of Sarah Tate (DEBORAH KARA UNGER), who herself has found closure with her deceased fiancée through EVP. Jonathan comes to believe when Raymond says of the dead, “I can hear them, I can see them and I can record them.”
Then, the unthinkable—Jonathan himself captures Anna’s voice and image through recordings he has made; she has established direct contact. Anna’s message: for Jonathan to save the future victims of the brutal psychopath who took her life. But his dead wife’s communications are often fuzzy, challenging to decipher. And Jonathan, in his growing obsession with reaching Anna, fails to notice signs of impending danger, summed up by Raymond’s assessment of the souls who cross the divide from the other side: “They can’t all be nice.”
What Jonathan hopes to be true is, in fact, possible: our departed loved ones can reach us… but if they can come through, who, or what else, can also come through?
(19 votes)
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