HORROR FILM REVIEW: FEEDBACK (2019)

Feedback is a UK-Spanish co-production directed by Pedro C. Alonso and written by Alonso & Alberto Marini. In the tradition of Phone Booth, Buried and Locke, it tells a tightly-focused tale in strictly limited environment, in this case the confines of a radio show recording studio.

Eddie Marsan plays Jarvis Dolan, late night radio DJ and left-wing pundit, who reluctantly agrees to reunite with his former co-host Andrew Wilde (Paul Anderson) for one more night of his controversial show Grim Reality. Jarvis isn't afraid to tell it how it is, or at least how he sees it, launching into a politically-charged monologue about Brexit, fascism, Russian interference and The State of The World Today. It's all business as usual... until masked invaders take him and his producers hostage. Trapped and abused, he's forced to comply with their demands, say what they want him to say, and reveal a terrible secret they're certain he and Wilde are hiding. They're broadcasting on a delay so he can't even ask the listeners for help. He's truly trapped.

Right from the off, it's clear that this is Eddie Marsan's best performance to date. Usually relegated to bit part roles, he's no stranger to sleazy and morally dubious characters (most recently in The Gentlemen as nasty newspaper editor Big Dave) but Jarvis Dolan is certainly a piece of work. He's full of a sense of his own importance, and when he threatens his daughter's boyfriend it's clear that there's a dangerous edge to him that means he just might be able to give these attackers as good as he gets. Marsan has us rooting for him throughout, at times reluctantly after some nasty truths have been revealed. If there was ever any doubt that he can carry a film as the lead then Feedback should put paid to that.

Most of the other actors fare about as well, with Anderson's showboating rockstar DJ stealing his all-too-few scenes. When the shit hits the fan and things start getting dark, he delivers a chillingly quiet monologue about the events of an awards show afterparty that's just so counter to his previously energetic antics that it really drives home the horror of it all. In fact, everyone gets a good solid monologue, and while this ought to feel a bit unnatural it actually really helps sell the situation and solidify all the characters' motives. This is when Ivana Baquero shines as new producer Claire. While some aspects of her performance don't really convince, and suggest that she's been miscast, her teary heartfelt speech to Jarvis that really hits home. Also she was Ofelia in Pan's Labyrinth so I can forgive her for anything.

The film starts off a bit mumbly and meandering, with a couple of 'ok, so what?' moments. I'm still not sold on the need for the furry costumes beyond 'it'll look weird'. But it all establishes the setting well, as we're introduced to the studio and the little side rooms like the producer's area, a soundproofed booth and the yellow-filtered Dead Room that muffles all sound. It's obviously Chekov's scenery, but it does mean that we're not strictly confined to a single room for the whole film, just for long enough chunks of it to really sell how trapped Jarvis is. Alonso has a great eye for tension – and, more importantly, an ear for it too. Sound is so important in building tension, and it's used superbly here. There's a moment that evokes a ticking clock that sets your heart racing. Masterful.

There are a couple of issues I have with the plot. I want to avoid spoilers here, obviously, so I'll tread carefully. The film makes a point of referring several times to the feedback of the audience, with a scene revealing Jarvis' hate mail and some pointed glances at a Twitter feed. It's even right there in the title. But ultimately nothing is done with it. There's a sense that they want to make a point about how easy it is to form opinions and spread them unquestioningly, but it feels like they didn't quite dare go in that direction. It would have been interesting to see callers allowed to weigh in, to examine the court of public opinion side of things.

The other issue is trickier to talk about without revealing too much of the plot. Suffice to say there's an uncomfortable amount of victim-blaming and apologia for the crime that was alleged, and with the film's framing of who's a good guy and who's a bad guy, it feels a little off at times. Especially in the ultimate conclusion. I'm sure the point of it, as exemplified by the angry rant at the beginning, is that crime and morally heinous acts go unpunished more and more today, but... we know that. We all watch the news and feel that helplessness. If I wanted to have that hammered home I'd pick up a newspaper, you know?

Regardless, these are personal gripes more than anything. Feedback is a great film with a fantastic central performance and plenty of thrills on offer. Here's hoping Marsan is offered the chance to play more leads in future.