White Noise Blu-ray offers solid video and superb audio in this fan-pleasing Blu-ray release
An architect's desire to speak with his wife from beyond the grave, becomes an obsession with supernatural repercussions.
For more about White Noise and the White Noise Blu-ray release, see White Noise Blu-ray Review published by Brian Orndorf on October 4, 2014 where this Blu-ray release scored 3.5 out of 5.
Unable to do much with star Michael Keaton's fading marquee value, Universal Pictures took a different direction when it came to the promotion of their 2005 release, "White Noise." While a traditional ghost story about loss and the mystery of the afterlife, the screenplay was rooted in the world of EVP (Electronic Voice Phenomena), giving the effort a uniqueness to help separate it from the competition. The theatrical trailer downplayed the actual feature, favoring a push to sell EVP as an authentic exploration into the lingering demands of death. The approach worked, duping moviegoers into the multiplex, with many hoping to learn more about EVP and its genuineness. Instead of science, "White Noise" delivered cheap thrills and a sluggish pace. While Keaton survives on his natural charisma, the rest of the endeavor is a lazy, muddled snooze that happily tenders pure fantasy to those with an endless curiosity about the hereafter and the potential for the deceased to remain in contact with the living.
A successful architect, Jonathan (Michael Keaton) is a decent father to his young son and a happy husband to his second wife, author Anna (Chandra West). When Anna goes missing, eventually turning up dead, Jonathan is sent into a tailspin of depression, pushing away loved ones as he tries to wrap his mind around the loss. Stepping into view is Raymond (Ian McNeice), an EVP expert who's mastered a way to communicate with the dead through electronic transmissions, claiming he's had contact with Anna. Diving into a study of EVP techniques and results, Jonathan is consumed with finding Anna again, building his own tower of gear to help facilitate entrance into the unknown. While this education takes over his life, Jonathan begins to encounter dark forces, teaming with fellow EVP convert Sarah (Deborah Kara Unger) to deduce the evil that's trailing him.
Despite Universal's best push to generate an air of legitimacy around the release of "White Noise," it's important to note that the actual film is nothing more than a fantasy. There's no hard science, no effort made to secure EVP as a true study of the afterlife. Screenwriter Niall Johnson is basically using the hobby as a way to create a new perspective on the possibilities of the unknown, with Jonathan's descent into a routine of VHS recording and sound examination eventually funneled into a "Ghost Whisperer"-style tale of heroism, with the grieving man urged to move beyond his obsession to prevent community disasters, guided by vague clues provided by Anna, who's sealed inside an electronic prison, laboring to communicate messages to her husband.
Missing from "White Noise" is a healthy sense of skepticism from Jonathan. Immediately intrigued with Raymond's examples of EVP study, including an initial connection to Anna, Jonathan doesn't take a minute to think about the bigger picture, perfectly willing to hand his emotions and time to a stranger skilled at manipulating sounds to create messages. While there are many problems with "White Noise," Jonathan's cannonball dive into the deep end of EVP is perhaps the most irksome, with the screenplay missing moments of hesitation, too quick to sign the character up for EVP training and move on to scenes of fixation and desperation to find Sarah. The transition happens too fast, too easily, robbing the effort of a richer psychological exploration of the widower's shattered mind.
"White Noise" eventually abandons the limited scope of EVP to become a ghost story, finding Jonathan pursued by three dark spirits out to cause tremendous harm to innocent victims. Director Geoffrey Sax orders up a formulaic PG-13 horror viewing experience, relying on harsh sonic jolts and assorted cheap scares to provide suspense, which does nothing to amplify the potential creepiness of the movie. The whole mission of these malevolent poltergeists is a bit hazy as well, leading to a disappointing climax. Through it all, Keaton submits appropriate facial reactions and dramatic timing, but he's lost here, unable to work up much enthusiasm for the goofy premise, trying to remain as professional as possible while his mind is obviously elsewhere.
The VC-1 encoded image (2.35:1 aspect ratio) presentation is hit with common Universal catalog release limitations, including the presence of filtering, sharpening the feature, creating a video-lite look to the viewing experience. Black levels are also troublesome, with crush a major concern, solidifying a good portion of the evening sequences, which take up the second half of the movie. In bright light, detail is generally acceptable, offering a study of Keaton's wrinkles and costuming, and colors are satisfactory, favoring the effort's cool blue color scheme and autumnal hues. No overt damage was detected.
Keeping up with the horror film experience, the 5.1 DTS-HS MA sound mix is a robust, exciting track that's capable of selling all types of scares. Surrounds are utilized for more cavernous spaces and intimate sonic jolts, while panning effects are precise, playing with the placement of the EVP recordings. Dialogue exchanges are crisp and emotionally clear, and while scoring is hearty and supportive, though a few moments of music steamroll over the performances. Low-end is good for acts of violence and more aggressive aural hits.
Commentary features director Geoffrey Sax and actor Michael Keaton.
"Making Contact" (8:41, SD) introduces the viewer to the world of EVP, spotlighting a select few who actually believe in its authenticity. Gathering experts and admirers for what appears to be a convention, the featurette collects interviews and showcases listening parties, exploring the diverse individuals who've devoted their life to the pursuit of EVP clues.
"Recording the Afterlife at Home" (4:26, SD) sits down with Tom and Lisa Butler, co-founders of the American Association of Electronic Voice Phenomena. Sharing their preferred methods of recording and equipment, the couple offers the viewer an opportunity to experiment with the dead at home.
"Hearing is Believing" (14:33, SD) returns to the Butlers, who are the focus of this "news" segment. Traveling to California and Chicago, the program explores the couple's methodology and shares their results, attempting to sell EVP as a very real afterlife event. It's difficult to tell if the featurette is true tabloid television or manufactured to promote "White Noise."
Deleted Scenes (9:36, SD) gathers a few additional moments with Jonathan as he's hit with EVP experiences and gathers clues. Interestingly, a few scenes of violence, including an extended ending, are offered, suggesting that "White Noise" was originally conceived as an R-rated picture, playing into sadistic horror trends of the day.
Although the premise easily lends itself to the variation and mild chills of a weekly television show, the success of "White Noise" was followed up with a surprisingly effective sequel, "White Noise 2: The Light," with Nathan Fillion taking on starring duties, gifted a script that downplayed the franchise's connection to EVP. It was an uptick in quality, but hardly an achievement when the original "White Noise" leaves much to be desired, struggling to create a waking nightmare with loose paranormal ingredients. The marketing was deceptive but inspired, while the movie is a cinematic sleeping pill that even a great actor can't salvage.
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