Brightlight Pictures
Corus Entertainment
Endgame Entertainment
Gold Circle Films
White Noise Collection
White Noise
The line separating the living from the dead has been crossed.
An architect's desire to speak with his wife from beyond the grave using EVP (Electronic Voice Phenomenon), becomes an obsession with supernatural repercussions.
- Original title
- White Noise
- Language
- EN
- Country
- CA,GB,US
- Budget
- $10,000,000
- Revenue
- $91,196,419
The Movie Diorama
Jan 16, 2020 · via TMDB
White Noise fizzles out its noisy static by just being plain boring. Watching Keaton as he unconvincingly stares at televised white noise for an hour and a half, which is essentially nothing, perfectly surmises the experience of Sax' supposedly supernatural horror. However, the biggest crime that the studio committed was releasing the feature on the first weekend of the year. Now, it's common knowledge that the initial start to the cinematic year typically begins with a disposable horror. Well, White Noise is to blame. Signalling untapped box office potential, despite the overt opinions of critics. And, as to be expected, matches the quality of a broken tape. A successful architect loses his wife to a drowning accident, to which he then encounters a psychic introducing him to the supernatural phenomenon of EVP. Electronic Voice Phenomena. Y'know, recording background noise in a room, playing back the tape and flabbergasted when the ghost of Michael Jackson hauntingly sings "Thriller". Except in White Noise the tool that's used is, well, white noise. The annoyingly hypnotising static from televisions when no channel is picked up from the current frequency. Keaton becomes entranced by the ominous voices and high definition faces he sees within the six televisions he owns in his modern apartment. Who is making contact? Is it his wife? Malevolent entities trapped in the cubic prison that is a television? Pretty sure writer Johnson didn't even know himself. The film is a mess. It's muddled, confused and abhorrently remains stagnant throughout. This architect, a father, essentially abandons his son when fixated on saving souls warned by his deceased wife that conveniently match the images in the white noise as soon as he arrives to any given scenario, despite "Willow Avenue" being mentioned days before. So think of it as 'Final Destination' meets 'Pulse' (original, obviously...). Except it's neither as entertaining as the former nor as horrifying as the latter. Keaton looked bored as hell and overacted in times of emotional distress, although reassured the narrative with control. The jump scares were obnoxiously tame, yet admittedly one of the piercing noises made me twitch my body. The ending is...well, let's just not talk about it. It's terrible, with CGI ghost things swooping in on Batman, and answers no lingering questions that the mystery of EVP conjured up. Heck, the feature begins and concludes with onscreen text about "existing" occurrences. "1 in 12 cases are dangerous". Yeah. Ok. You know what is dangerous? Ruining Keaton's career. We had to wait a decade later for his rejuvenation! White Noise admittedly has a decent enough premise, yet Sax' lack of direction accompanied by shoddy writing and lacklustre performances resulted in one film that had the similarities to white noise. Nothingness.
User reviews courtesy of TMDB.
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Michael Keaton
Jonathan Rivers
Deborah Kara Unger
Sarah Tate
Chandra West
Anna Rivers
Ian McNeice
Raymond Price
Sarah Strange
Jane
Nicholas Elia
Mike Rivers
Mike Dopud
Detective Smits
Marsha Regis
Police Woman
Mitchell Kosterman
Work Man
L. Harvey Gold
Business Man
Amber Rothwell
Susie Tomlinson
Suzanne Ristic
Mary Freeman
Keegan Connor Tracy
Mirabelle
Miranda Frigon
Car Crash Woman
Aaron Douglas
Young Father
Anthony Harrison
Doctor
Bruce Dawson
Mark
Benita Ha
TV Reporter
Peter Bryant
Man (EVP)
April Telek
John's Secretary
Chris Seager
Director of Photography
Brian Knox McGugan
Playback Coordinator
Randy Lee
Stunt Coordinator
Carolyn Anderson
Stunt Double
Garvin Cross
Stunt Double
Geoffrey Sax
Director
Richard Coleman
First Assistant Director
Jonathan Shore
Associate Producer
Maureen Webb
Casting
Paul Brooks
Producer
Randy Gerston
Music Supervisor
Claude Foisy
Original Music Composer
Niall Johnson
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