Don DeLillo wrote White Noise (the book) way back in the 80s. Baumbachs screen adaptation here is a hilarious existential crisis stream of consciousness film where Kylo Ren is a H:tler expert, his wife Frances Ha is hopped up on 'Dylar' trying to fend off her fear of death and a cloud of gas is unleashed on their little 80s retro-style suburb. I wonder if the other non-meta thinking commentors watched Wandavision and thought "This is a real pretentious sitcom!" It's satire about academia and family life. Note that - it's satire about ACADEMIA and FAMILY LIFE. I'm repeating that because some of the others didn't get that and saw the film as pretending to be academic. IT"S RIFFING ON IT NOT BEING IT. How you can look at Don Cheadles professor of "Elvis Studies" in any other way but hilariously, is beyond me. Lighten up tankies! The war is in the mind not in the universities on your children!

Despite a conventional narrative this film relies on engaging into intellectual combat with you, the audience, as if it was the book. Advertising, media and consumerism are its own character in the film - occupying the background or 'white noise' around the family. This is important to grasp or else you will be turned off by the cacophony and quick pacing of the scenes. It's not hiding it's literary connection to post-modernism so the dialogue is RICH IRONY and the scenes are high-satire concept. That means two things, it's not for your average bear and if you do get it, it delivers the good a'plenty. For other appreciators of good things this has REWATCH value. If you have not considered the futility of your own mortality in false inflation post-pandemic greedworld you will struggle to understand Baumbachs pseudo-metaphorical pandemic told via DeMilos early 80s polemic. If you are muddling through since lockdown and wondering if there will ever be normality in media dominated, soma dependance culture - this movie is for you.

2 Parts Wes Anderson 2 parts Paul Thomas Anderson 2 parts Godard and 2 parts Salvador Dali.

It’s the Charlie Kaufman version of _Don’t Look Up_. This is essentially an exploration of all the different ways we collectively distract ourselves from our own mortality by means of white noise (some examples of the noise this film touches on being [spoiler] excessive consumerism, misinformation, cult of personality, religion, overprescribing and quackery [/spoiler]). I actually really like the dialogue and how the characters are written, it gives the film a very unique voice. Granted, it feels like an academic’s interpretation of Wes Anderson, so it’s wordy, eccentric and dry, but I like that. Sometimes you need to dig in order to understand what’s being said, or what the joke is. It’s very well shot (the second half in particular is very stylish), the acting’s great and it also has one of Elfman’s better scores in recent memory. However, I do think the storytelling is inelegant. There are a lot of tonal shifts that don’t work at all, and the two halves feel way too disconnected. They’re thematically linked, but besides that, they feel like two completely different movies. The second half is also considerably slower and less interesting. Still, I think this is entertaining, and the credits (which include a fantastic new LCD Soundsystem song) are a major highlight.

6/10

"Jack" (Adam Driver) is a college lecturer married to "Babbette" (Greta Gerwig). It's fourth time round for both of them so their family consists a mix of siblings, half-siblings and pets that could easily give the Tower of Babel a run for it's money. Add to that mix that he teaches about Adolf Hitler (but cannot speak German) and she has developed a secret dependency on a mysterious drug ("Dylar") and the scene is set for a dysfunctional family drama that I'm afraid to say left me yawning. The structure of the drama is pretty episodic in nature and the escapades themselves frequently border on the nonsensical (and implausible) as they have to comprehend and flee from the effects of an "airborne toxic event". Some of that is funny, some of that is not - and I'm not sure the entire concept can really sustain the 2¼ hours Noah Baumbach provides for us here. At times it comes across as ridiculously contrived, the humour and scenarios straining at the bit to be imaginative or inventive, but ending up, intellectually, face down in a ditch. Too many directors nowadays appear to me to challenge the audience to comprehend an increasing degree of nonsense or surreality almost daring us to ask "What's this all about?". Revealing ourselves idiots when we haven't really any clue? There are certainly constituent elements of this that raise a smile, and Driver continues to grow in confidence with each of the quirkier roles (remember "Annette" from 2021) he undertakes, but this is just a rambling mess of a story that offers us a surfeit of irritating dialogue underpinned by a story that plays to paranoia and stereotype in equal measure without really offering us much of a stab at redemption or comprehension. It may improve with a second viewing, but oddly enough I found it entirely well titled.

White Noise was not what I expected going into it. It had great performances and interesting premise but slowly went off the rails for me. I was enjoying the first half the film; the unique dialogue structure was fresh and the suspense of the chemical event was intriguing. It had great social commentary and was funny to watch post pandemic. But after the second act the story spirals absurdity and it really hurts my overall enjoyment of the film. I have a lot more I have to say, but spoilers would be required. There was definitely something here, but unfortunately it never quite reaches the mark.

Score: 62%
Verdict: Decent