First we learnt about Electronic Voice Phenomenon (E.V.P) now we are 'learning' about Near Death Experiences (or the just as catchy N.D.Es). Family man Abe Dale (Nathan Fillion) is brought back to life after being declared dead on a hospital gurney, but not without spooky consequences...
For an ad campaign that suggests White Noise: The Light is a taking a different route to world of paranormal phenomena, it doesn't take long for our hero to find himself on familiar E.V.P based territory. Not that this is a particularly bad thing, the first White Noise became quite a sleeper hit at the box office and found a large audience on DVD. The Light was originally intended as a direct-to-DVD project but clearly there was enough potential to give it a staggered cinema release. And quite rightly so.
The set up is pretty similar - an early tragedy leads to our protagonist meeting an E.V.P enthusiast. The main difference this time is that Abe now has the ability to see the ghostly goings-on without having to watch static on a TV for countless hours like Michael Keaton, which helps the pace no end. Director/editor/visual consultant Patrick Lussier ensures there's more 'jump' moments this time (like them or not) and the detective whodunnit element of the first story has been replaced with a 'whydunnit' after Brit actor Craig Fairbrass (Cliffhanger, EastEnders!) commits a brutal act in a busy restaurant prompting Abe to find the motive. There's some holy unoriginal sequences like the ol' Tunnel of Light malarky that could've perhaps happily lent itself to some artistic interpretation.
White Noise started with receiving messages from the dead, but then shifted on to messages from the not-yet-dead (messages from the er... living?) If this was a senseless plot line irked you, then The Light is likely to become slightly irritating around about the time we hit the theological element to the story. We're then treated to something directly out of The Omen (even going so far as to quote the book of Revelations and briefly show a creepy kid with a dodgy haircut). Where would the harm have been to incorporate the unholy trilogy of demonic shadows that plagued Keaton's character? Without giving anything away, this would have fitted perfectly within the theme.
That said, cutie Katee Sackhoff is nicely paired with the ever excellent Fillion and Craig Fairbrass does pretty well as a gruff nutter in a role normally reserved for the likes of Sean Bean. Although there's some unanswered questions, there's a Firefly/Serenity gag to distract Fillion fans and the special effects are suitably effective for what was most likely a pretty modest budget. An entirely watchable movie that's entertaining for most of the 99 minutes runtime. If White Noise: The Light has been your cup of tea, seek out The Eye by the Pang brothers before it gets the remake treatment.
It's unlikely that this series will ever be considered classic horror by any means, but then who knows - maybe 3 is the magic number...
For an ad campaign that suggests White Noise: The Light is a taking a different route to world of paranormal phenomena, it doesn't take long for our hero to find himself on familiar E.V.P based territory. Not that this is a particularly bad thing, the first White Noise became quite a sleeper hit at the box office and found a large audience on DVD. The Light was originally intended as a direct-to-DVD project but clearly there was enough potential to give it a staggered cinema release. And quite rightly so.
The set up is pretty similar - an early tragedy leads to our protagonist meeting an E.V.P enthusiast. The main difference this time is that Abe now has the ability to see the ghostly goings-on without having to watch static on a TV for countless hours like Michael Keaton, which helps the pace no end. Director/editor/visual consultant Patrick Lussier ensures there's more 'jump' moments this time (like them or not) and the detective whodunnit element of the first story has been replaced with a 'whydunnit' after Brit actor Craig Fairbrass (Cliffhanger, EastEnders!) commits a brutal act in a busy restaurant prompting Abe to find the motive. There's some holy unoriginal sequences like the ol' Tunnel of Light malarky that could've perhaps happily lent itself to some artistic interpretation.
White Noise started with receiving messages from the dead, but then shifted on to messages from the not-yet-dead (messages from the er... living?) If this was a senseless plot line irked you, then The Light is likely to become slightly irritating around about the time we hit the theological element to the story. We're then treated to something directly out of The Omen (even going so far as to quote the book of Revelations and briefly show a creepy kid with a dodgy haircut). Where would the harm have been to incorporate the unholy trilogy of demonic shadows that plagued Keaton's character? Without giving anything away, this would have fitted perfectly within the theme.
That said, cutie Katee Sackhoff is nicely paired with the ever excellent Fillion and Craig Fairbrass does pretty well as a gruff nutter in a role normally reserved for the likes of Sean Bean. Although there's some unanswered questions, there's a Firefly/Serenity gag to distract Fillion fans and the special effects are suitably effective for what was most likely a pretty modest budget. An entirely watchable movie that's entertaining for most of the 99 minutes runtime. If White Noise: The Light has been your cup of tea, seek out The Eye by the Pang brothers before it gets the remake treatment.
It's unlikely that this series will ever be considered classic horror by any means, but then who knows - maybe 3 is the magic number...