| Director: | Geoffrey Sax | |||||||||||||||||||||||||||||||
| Writer: | Niall Johnson | |||||||||||||||||||||||||||||||
| Starring: | Michael Keaton, Deborah Unger, Ian McNeice, Chandra West | |||||||||||||||||||||||||||||||
| Released: | April 21, 2005 | |||||||||||||||||||||||||||||||
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| Runtime: | 101 minutes | |||||||||||||||||||||||||||||||
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| Story: |
Electronic Voice Phenomenon - EVP - is the process by which the dead, through sound
and image, communicate with the living through the static and white noise of modern
electronic devices.
By modest estimates, there are nearly seven billion audio and video recording devices in homes around the world - and every one of them is a portal. For two decades now, a quiet worldwide movement has gained momentum among the growing number of people who believe in EVP and who themselves have captured extraordinary recordings of communications from the dead. These transmissions, recorded with simple household electronic devices, force us to question our basic notions about life and death and seem to confirm what many of us have dared to believe: it is possible for the dead to communicate with us. All we have to do is listen. Now, for the first time, this otherworldly occurrence stands at the centre of a motion picture paranormal thriller. Until the sudden and mysterious death of his beloved wife, architect Jonathan Rivers 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, has entered his life, claiming to have heard Jonathan's wife, Anna, through 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, who herself has found closure with her deceased fiancee through EVP. Jonathan comes to believe when Raymond says of the dead, 'I can hear them, I can see them and I can record them.' Then, the unthinkable - 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? | |||||||||||||||||||||||||||||||
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