A family in 1980s garb. Greta Gerwig, May Nivola, Adam Driver, Samuel Nivola, and Raffey Cassidy in White Noise. Wilson Webb / Netflix.
The cults of the famous and the dead.” “The tales of the supernatural and the extraterrestrial. “Once you’ve seen the signs about the barn, it becomes impossible to see the barn.” He paints it in almost religious terms: “Being here is kind of a spiritual surrender. But like the white noise machine I need to sleep, even though there’s nothing to drown out anymore, we’ve become so dependent on our cultural white noise that the idea of living without it is almost unbearable. He instead focuses on the larger existential point at the heart of the novel: that all of this white noise we’ve generated for ourselves — a drive to buy things, a fascination with catastrophes, technologies always humming in the background — is a way of distracting ourselves from the horrifying realization that we will die. It’s why people become obsessed with celebrities (like Elvis) or leaders who falsely promise us the world (like Hitler); in becoming part of a crowd, in losing ourselves to the emotional high of the performer, we can stop the feeling for a while. When they arrive, there are “forty cars and a tour bus” in the lot, and a lot of people standing nearby with photographic gear, taking pictures of the barn. Jack frequently muses on misinformation and disinformation (“the family is the cradle of the world’s misinformation,” he says at one point) — something that comes from the human brain’s inability to process everything flying at it, and our need to make sense of it with conspiracy theories. [lengthy](https://www.jstor.org/stable/1208561) [peer](https://www.jstor.org/stable/25112247)- [reviewed](https://www.jstor.org/stable/3831638) [papers](https://www.jstor.org/stable/40588075) and dissertations on White Noise, because it is not really just a story, though it’s plenty entertaining on the surface. It’s called “the most photographed barn in America,” and they start seeing signs for it long before they get there. What a strange and largely unremarked-upon choice — but the movie and the novel treat this as if it’s a totally normal sort of academic department to found. Jack can’t really believe that a disaster would happen to him because he is a well-off college professor, not the kind of person to whom disasters happen — which is to say, a person on TV.
I first read Don DeLillo's 'White Noise', the book that serves as the source material for Noah Baumbach's new eponymous film, as a precocious teen.
They all are great, and Driver particularly is scarily believable in the role of a man drowning in the fear of mortality. Literary critics who swear by Don DeLillo's tome would disagree, but I would go so far as to say that the film gets across what the novel wished to say more efficiently. A truck crashes into a train carrying some toxic chemical and the result is an explosion that creates a huge monster of a noxious cloud, which then rains. One of the film's most entertaining scenes has the two faux-competing over the respective figures in a classroom. Add the fear of death, a universal theme across all cultures, and you have a potent cocktail of ideas. I re-read the whole thing a decade or so later, and while I appreciated its layers and themes, it was still difficult to finish.
Baumbach's last film, the critically acclaimed divorce drama Marriage Story, was nominated for Best Picture in 2020 before the world shut down. It gave Netflix ...
Overall, Baumbach stretches everything he could possibly imagine doing in a film and takes the biggest swing of his career with this one. In fact, some of the best things about this film is how Baumbach utilizes his increased budget this time around to create a second act that has action stunts and set pieces that feel more early Spielberg than Baumbach’s previous work. It’s all a part of avoiding what confronts us all the time. It also gave us one of the best “memed” movies of that year, complete with arguing velociraptors. Based on the U.S. With projects like David Fincher’s The Killer & George C.
Noah Baumach's adaptation of the beloved novel is streaming on Netflix now. By Josh Zajdman Published: Dec 30, 2022. white ...
What it is and how it’s dealt with is just one facet of the story. Let’s hope that the adaptations of Libra, Underworld, and The Silence come to fruition. You have to read it and you have to read it before the forthcoming Netflix adaptation. Thrillingly, it’s also the work that is ushering in a new era of appreciation and attention for DeLillo from some unexpected corners—namely, Netflix. But, then there is White Noise, a modern classic if ever there was one and the book that DeLillo is arguably best known for. Deftly taking the reader from the Cold War to the turn of the century (and back again), Underworld is about everything and the way it’s all connected and how we too are all connected.
Why does Netflix's adaptation of the Don DeLillo classic end with a dance sequence in a supermarket? Director Noah Baumbach breaks it down.
“I’d like to think it captures that sense of the absurd that I loved about the novel.” “But when I saw the movie, I was like, ‘Oh, I guess this makes sense.’ ” “With the dance itself, I don’t know that I ever fully understood what it was and why we were doing it,’ ” Cheadle says. “We had people come in off the street and just grab a shopping cart and start going up and down the aisles,” Gonchor says. “I had to provide a space that the dancers could tell a story through, using the aisles and shopping carts, with enough room to film a beautiful sequence.” “Some of the products in there were actually real — you’re like, ‘Why is this real meat?’ But the scope of it was amazing.” “I reached out to James while we were shooting and I told him I’d like him to write an upbeat song about death,” Baumbach says. “Even when it’s not an entertaining dance number, I like to have that time to just sit with the experience at the end of a movie. I don’t want to be immediately engaging in the meaning and saying, ‘What did you think?’ I want some time to just sit with the feeling.” “There is agitation and panic in the aisles, dismay in the faces of older shoppers,” DeLillo writes. I went to a lot of supermarkets with a different sense of observation, thinking, ‘What was Don DeLillo saying?’” Animated films like “Shrek” or “Despicable Me.” Even the odd raucous comedy like “The 40-Year-Old Virgin.”
Noah Baumbach's adaptation of the 1985 Don DeLillo novel, starring Driver, Greta Gerwig, and Don Cheadle, is a bizarre, messy, occasionally enthralling ...
Later, Baumbach shows he can mix action with comedy in a farcical station-wagon car chase that could easily hail from a Chevy Chase movie from the period in which White Noise is set. Although the showy, CGI train crash that precipitates the Airborne Toxic Event doesn’t really work — it bluntly literalizes a disaster that, in the book, is all the more ominous for being distant and vague — what follows is an extraordinary, sustained sequence that echoes Spielberg’s masterpiece of collective madness, Close Encounters of the Third Kind. (It’s also the first period piece he has attempted, and the heightened, day-glo interpretation of the 1980s in the costuming and production design is one of White Noise’s principal pleasures.) He rises to the challenge in unexpected ways. An accident unleashes a poisonous cloud known as the Airborne Toxic Event, and the Gladneys are caught up in a wave of panic. Adapted from the beloved 1985 Don DeLillo novel, White Noise is a baffling, uneven, sporadically enthralling movie about the collective psychosis of 1980s America and a dry run for the end of the world. The besotted pair compete over which of them is more anxious about dying, but something seems genuinely wrong with Babette, and an ominous cloud is gathering on the horizon — literally.
White Noise starring Adam Driver and Greta Gerwig is now on Netflix! We're breaking down the age rating and whether or not it's okay for kids.
[Adam Driver](https://netflixlife.com/2022/12/30/did-adam-driver-have-to-gain-weight-white-noise/) and Greta Gerwig star in the movie which follows the two leads as a married couple in the Midwest. Netflix, per usual, has a wide variety of titles to check out during the holidays, including a [dark comedy that just dropped called White Noise](https://netflixlife.com/2022/12/30/white-noise-is-dylar-real-drug/). [ New Year’s weekend](https://netflixlife.com/2022/12/30/best-netflix-movies-to-watch-and-skip-for-new-years-eve-2022/), many are likely looking forward to relaxing with loved ones and binging a few shows or marathoning movies.
Adam Driver's latest film White Noise has received a Rotten Tomatoes score of 63%, following its release on Netflix.
"A strange brew. [Is Adam Driver's new Netflix movie White Noise worth watchin](https://www.digitalspy.com/movies/a42238666/white-noise-review/) [In its four-star review of the film,](https://www.digitalspy.com/movies/a42238666/white-noise-review/) Digital Spy wrote: "How much you like White Noise will depend on your willingness to succumb to the strictures of its storytelling world. [Movie Mom](https://moviemom.com/white-noise-2/) [Empire Magazine](https://www.empireonline.com/movies/reviews/white-noise/) [White Noise ending explained - what the hell was that about?](https://www.digitalspy.com/movies/a42266707/white-noise-ending-explained-netflix/) [ABC News](https://abcnews.go.com/GMA/Culture/review-white-noise-sign-respect-virtuoso-completely-breaks/story?id=95940625) [White Noise](https://www.digitalspy.com/movies/a41050237/adam-driver-netflix-movie-white-noise-first-reviews/) has received its Rotten Tomatoes score, following its release on [Netflix](https://www.digitalspy.com/netflix/).
The best new movies to watch at home this weekend, including Netflix's new White Noise movie from Noah Baumbach, The Black Phone on Prime Video, and more.
Hawke is also too all over the place to read as credibly frightening: When we first see The Grabber, his face is painted white and he speaks in a high, affected voice that recalls Atlanta’s Teddy Perkins. Whether that’s a good thing is up to you! This isn’t The Black Phone’s streaming debut — the Ethan Hawke-led horror first landed on Peacock a few months back. The latter, I suspect, and more power to him. Noah Baumbach (Marriage Story) has a new movie out — his adaptation of Don DeLillo’s White Noise makes its way to Netflix. The thing that most annoys DeLillo purists about Baumbach’s film might be the thing that makes it most pleasurable to watch for everyone else: It’s fun.
Filmmaker Noah Baumbach adapts Don DeLillo's “unfilmable” satire tackling Hitler, Big Pharma and consumerism for Netflix, streaming Dec. 30.
You’d have to expect as much from a movie so committed to evoking an era of movies that belonged to the movie brats and their peers. They aren’t always DeLillo’s ideas, to the extent that this is even a reasonable expectation. Whether talking to his precocious kids or his colleagues, Jack and the other characters swap bits of insight like so much product, dallying in neat, smart-sounding summaries of the world that will nevertheless bring them no closer to making peace with the inevitable. What Baumbach basically gets right is that none of these goings-on, none of what a lush, consumer-forward, aspirational era has to offer, is enough to make up for the fact that we will all die anyway. His wife, Babette ( [Greta Gerwig](https://www.rollingstone.com/tv-movies/tv-movie-features/how-greta-gerwig-turned-the-personal-lady-bird-into-a-perfect-movie-126300/)), is a bubbly woman with a bubbly name, crinkle-curled half to death, with enough smarts to keep up with Jack and enough of a handle on reality to seem comparatively normal. I admire that willingness to glory in these big gestures, even as the movie that results can feel like a mix of vibrant and unexpected approaches to the material paired with the dreary, misshapen delirium of incomplete ideas. The kind of world in which a scholar of Hitler can lord his performative authority over his audience in the way that Hitler did, leaning into his own mesmerism, proving a point about charismatic fascism while convincing himself that he is no fascist. A simple matter of marital infidelity can aspire to the broad importance of a pharmaceutical conspiracy — a way of feeling connected to history while nevertheless navel-gazing, zeroing in ourselves. (He’s working on it.) He is, among other things, a man with [Hitler](https://www.rollingstone.com/t/hitler/) on the mind, sharing with that monster a penchant for public performance, for taking his audience to church, in his own way. There was the prolonged and argumentative death of a marriage, on one hand, and another throughline — the much more interesting strand of the movie — about the cruel legal maneuvers of their divorce proceeding, populated by lawyers and their talent for seeing people not as people, but as clients, bit players in some grotesque, lucrative game. Baumbach’s take on the novel — which, thanks in part to the movie’s sizable budget, qualifies as the director’s biggest and most ambitious movie to date — is flawed. [Noah Baumbach](https://www.rollingstone.com/t/noah-baumbach/) up to in [White Noise](https://www.rollingstone.com/music/music-news/lcd-soundsystem-new-body-rhumba-white-noise-noah-baumbach-1234582828/)?
White Noise movie review: Noah Baumbach takes Don DeLillo's 'unfilmable' novel and distills it down to a mordant pandemic allegory.
These scenes are meant to satirise American society’s reliance on consumerism and escapism, but more than any moment in the movie, the one artefact that best represents these values is the movie itself. Gerwig, on the other hand, is robbed of her natural playfulness as Jack’s literally anaesthetised fourth wife Babette, a woman who appears to have looked death in the eye and started scrambling for solutions much before the noxious spill put her husband and others around them in a similar existential crisis. He teaches Hitler not because he wants to enlighten his students about the cyclical nature of these things — “When people are helpless and scared they’re drawn to magical, mythic figures, epic men who intimidate and darkly loom,” he says in one of his lectures — but because he probably discovered that having nobody to compete with increases his chances of ‘winning’. Jack is convinced that he is going to die, as the townsfolk are made to hastily evacuate and go into quarantine at a nearby facility. A wild creative leap for director Noah Baumbach, White Noise is a jarring (and not entirely justifiable) movie that morphs writer Don DeLillo’s classic postmodern novel into a Network-like satire of the times for Netflix. Long-haired and mildly unkempt, he looks a little bit like Jack Nicholson from The Shining, which might be deliberate, considering how the character puts his family at risk as he slowly starts to unravel.
The film is sharply funny, eerily timely, and loaded with movie stars. So why is this blockbuster-size event falling flat?
White Noise’s final act, in which the Gladneys try to return to their normal lives, is the toughest knot to untangle. Baumbach does his best to infuse his film with mundane dread, but for the viewer, existential horror can be easily confused with a lack of energy. Jack fends off the sarcastic children in his blended family, works to learn German to lend legitimacy to his post as a professor of “Hitler studies,” and assists his fellow academic Murray Siskind (Cheadle), who’s attempting to launch a similar department centered on Elvis Presley. It deconstructs the bucolic lives of the successful academic Jack Gladney (played by Driver in the film) and his wife, Babette (Gerwig). [two of](https://www.theatlantic.com/entertainment/archive/2017/10/the-meyerowitz-stories-is-career-best-work-from-adam-sandler/542856/) the [best movies](https://www.theatlantic.com/entertainment/archive/2019/11/marriage-story-review-adam-driver-scarlett-johansson-netflix/601600/) of his career for Netflix, and the cast he’s assembled here—including Adam Driver, Greta Gerwig, and Don Cheadle—is top-notch. The adaptation takes the tale of a 1980s family dealing with the aftermath of a local chemical accident and gives it the vibe of a classic Amblin movie.
So feels Jack Gladney, whose own life seems in tip-top shape. He's a well-respected professor at College on the Hill, a dynamic liberal arts school that draws ...
We can infer that the movie’s title is really about all the metaphorical whistling we do in the dark. There’s some suggestion that Babette and pert near everyone else is taking plenty of prescription medication to solve various woes, but the most important drug we hear about is Dylar. One says yes—adding that the partner was topless and it was one of the two or three greatest experiences he’s ever had. The cloud of poisonous gas is said to cause a multitude of symptoms (which officials change and amend regularly), but most think that it’s definitely bad for you. When asked how it’s going, the expert laments that the bodies aren’t quite laid out as they would be in an actual simulation, but “you have to make allowances for the fact that everything you see tonight is real.” A truck collides with a train, derailing most of the latter and surely killing, at the very least, the truck driver. Kennedy in heaven hangs on a wall, and Babette asks if that reflects the current concept of heaven for the Catholic church. (One man is not so lucky: He’s hit by a car and smashes against the windshield, though the low-speed collision doesn’t appear to have been fatal.) At the outset of the film, we see Murray leading a college lecture on the art of cinematic car crashes. Near the end of the movie, Babette, Jack and another man rush to a hospital-like care facility located in a church. Jack plucks an erotic novel from the bottom of one of their drawers and prepares to read. A man speculates that déjà vu is truly a premonition of the future: “Maybe when we die our first thought will be, ‘I know this feeling.