Cast: Michael Keaton, Deborah Unger, Chandra West and Ian McNeice
Director: Geoffrey Sax
Studio Synopsis: 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 Electronic Voice Phenomenon (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 fiancee through EVP. 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?
Rating: PG-13
Running Time: 98 minutes
Official Web site: http://www.whitenoisemovie.com/
Trailer: http://www.whitenoisemovie.com/

The Verdict: I see dead people ... on TV. Michael Keaton tries to resurrect his flagging career with a deathly dull Sixth Sense knockoff that lacks coherence and, most importantly, a single chill. The onetime Betelgeuse once again meddles with the dearly departed, this time as a widower who receives messages from the Great Beyond via Electronic Voice Phenomenon (EVP). Unfortunately, this means watching Keaton watching recordings in hopes of catching a glimpse of his late wife. There’s really nothing director Geoffrey Sax can do to squeeze any suspense out of this less-than dramatic way of communicating with the dead, although some of the recordings do prove genuinely creepy. Fooling around with the deceased does have its consequences, and soon enough the tormented Keaton must face three demons with murderous intentions. Like The Forgotten, Dragonfly and The Mothman Prophecies, White Noise is all buildup and no payoff. The premise is no sillier than a young child conversing with ghosts, but White Noise rarely makes much sense or offer a satisfying and fright-filled resolution. Keaton—whose grave intensity is most welcome—gives his all to a thankless role that requires him to stare at a blank TV and computer screens for much of the time. Too bad for Keaton that White Noise will leave your eyes sore and your ears aching.
—Robert Sims

Reviews:
Local 10 (2 1/2 stars)
Hollywood.com (1 1/2 stars)
Street Weekly (1 1/2 stars)
The Miami Herald (1 star)
The Sun-Sentinel (1 star)
New Times Broward-Palm Beach
The Palm Beach Post