It’s hard to imagine this only came out a few years ago. I distinctly remember watching it at home what seemed like a million years ago. Then again, I also thought it was starring Mel Gibson (now reduced to “sugar tits” fame). This is how old I’m getting. Mel Gibson is nothing like Michael Keaton. WTF?

Anyway … I’m a big fan of the show Ghost Hunters (despite their pushy ways) and If You Are Too, you’ll find something familiar in White Noise. That’s right … EVPs. Electronic Voice Phenomena form the basis behind the story of Jon Rivers (Keaton), a recent widower sent on a hunt for contact with his wife, Anna.

If you aren’t familiar with EVPs, this is thought to be a way that entities (ghosts, masses of energy, etc) communicate with us. Using available noise, they create a message. Using available visual static on a television screen, they can create images. If you subscribe to that sort of thing, White Noise will give you a never-ending ride through the highest quality EVPs the world has ever seen.

In my opinion, that’s one of the worst points of the movie. You hear and see these amazing things, go searching and run into real EVPs that are barely audible. A major disappointment, in other words, and anyone taking notice of the prologue will be given the incorrent impression that most EVPs are negative or threatening, when that is not the case.

This is a very sad, tormenting story because we’re left unsure as to whether we ever “meet” Anna or not, or whether we’ve simply met an imposter adept at using someone else’s image, memory, voice to get what they want. There are also Ring-esque elements that drew me completely out of the story at times. Major bummer.

While I enjoyed White Noise for the subject matter, and at moments throughout the movie, it isn’t on my list of must-sees. If you’re intrigued by the idea of EVPs, a better option might be reading “I’m Still Here” by Martha Copeland.

Source: Horror.com

This was the third or fourth movie directed by Japanese genius Hideo Nakata. Again, the story behind Honogurai Mizu No Soko Kara was taken from written work by Koji Suzuki, and successfully remade for the American screen.

Your heart immediately goes out to the movie’s lead character. Yoshimi Matsubara (played by Hitomi Kuroki) is a single mother facing an abusive ex. Neglected by her own single mother, Yoshimi is determined to do justice by her daughter Ikuko (played by an adorable, Rio Kanno).

If only the spirits present in their new apartment were as sympathetic. Soon after moving in, a mysterious girl in a raincoat starts showing up in the strangest places. Along with her comes a tide of strange water, leaking from the ceilings and eventually saturating everything in its path.

In traditional Japanese-horror flair, things get taken to the next level with Yoshimi’s mental health is attacked in family court … and she enters a coma. Why? Why does it have to be so overly dramatic?

This is one of those unfortunate experiences where the first half is wonderful and the last half is ridiculous. Ridiculous … but chilling all the while. I have to admit to having enjoyed the American remake (starring Jennifer Connelly, as Dahlia Williams) better.