Full Review

Similarly, anyone watching this paranormal potboiler will be able to see and hear an actor whose career is soon to be dead, that is, if he keeps choosing films like this one.

Keaton plays Jonathan Rivers, an architect who has it all: a beautiful (second) wife, Linda (Chandra West), a baby on the way and a successful business. But all that changes when Linda goes missing and is found dead several days later. Jonathan is unable to cope with the pain of his loss.

Soon thereafter, he is approached by a mysterious, but sympathetic, stranger (Ian McNeice) who claims to be receiving messages from Linda's spirit. Jonathan is skeptical at first, but after a doubt-dispelling demonstration, is quickly converted.

He becomes obsessed with contacting Linda through "electronic voice phenomenon," a process which purports to use household devices like TVs and VCRs to communicate with the dearly departed. The messages received are cryptic and generally quite concise (calling rates from the great beyond must, understandably, be exorbitant).

However, Jonathan's ill-advised attempts at surfing the "necronet" result in unforeseen consequences and uninvited guests from "the other side," including a trio of pernicious poltergeists.

Unfortunately it is the actors on "this side" who don't exhibit much life. Most of Keaton's performance involves little more than close-ups of him arching his eyebrow in bewilderment -- a feeling viewers will undoubtedly share.

The basic concept of the film raises some interesting eschatological questions about the afterlife, but most of "White Noise" is just that.

The story is as insubstantial as its spectral spooks. Director Geoffrey Sax tries to distract viewers with hokey horror sequences that are more silly than scary and migraine-inducing sound effects of static interference from snowy TV screens (thus, the title). It is a shame that Sax didn't time the static blasts to cover up the corny dialogue.

The unwieldy script makes almost no sense at all. "White Noise" also includes a peripheral serial-killer subplot which only adds to the narrative confusion. And though his gory handiwork is shown for the most part in fleeting flashes, some viewers may find the images of his tortured victims disturbing.

The movie keeps the door open to a sequel -- now that's scary -- by closing on a scene where a garbled and ghostly voice channeled through a car radio sounds like its saying "I'm sorry," a sentiment which, given the 101 minutes which preceded it, ought to be directed to the audience.

The movie contains some frightening episodes and grisly crime images, an attempted suicide, an instance of rough language and a few crass expressions. The USCCB Office for Film & Broadcasting classification is A-III -- adults. The Motion Picture Association of America rating is PG-13 -- parents are strongly cautioned. Some material may be inappropriate for children under 13.

Movies have been evaluated by the U.S. Conference of Catholic Bishop's Office for Film and Broadcasting according to artistic merit and moral suitability. The reviews include the USCCB rating, the Motion Picture Association of America rating, and a brief synopsis of the movie.

The classifications are as follows:

• A-I -- general patronage;
• A-II -- adults and adolescents;
• A-III -- adults;
• A-IV**
• L -- limited adult audience, films whose problematic content many adults would find troubling. L replaces the previous classification, A-IV.
• O -- morally offensive.