Along with Don DeLillo’s novel of the same name, White Noise can claim as source material Ringu, Ju-On, Takashi Miike’s One Missed Call and every other minimalist J-horror flick featuring scary televisions and cell phones. Targeted at mortality-anxious affluent baby boomers seeking cardiac-friendly demi-thrills, it features Michael Keaton as Jonathan, a stunningly affluent fiftysomething architect whose young wife, Anna (Chandra West), dies mysteriously, leading him to check out EVP—Electronic Voice Phenomena—some occult-techno hoo-ha about the deceased sending reassuring calls and video images to the living. But the afterlife is also filled with randomly homicidal Bad People. And so, with the aid of dead blonde Anna and not-yet-dead blonde Sarah (Deborah Kara Unger), Jonathan slowly takes on the otherworld nemesis. We’re talking endless rain-streaked moody shots of maybe-haunted Philip Stark-y digs, Keaton scowl-staring at monitors, ooh-spooky noises, etc. Mainly, you wonder where the hell folks get camcorders in the afterlife, but that’s entertainment.