Jarvis Dolan (Eddie Marsan), a thoroughly irritating talk-radio DJ with zero charisma, spouts his socialist agenda to loyal listeners (apparently, his show is so popular with the masses, he even has groupies). During one of his mind-numbingly dull broadcasts, the radio station is taken over by masked intruders who hold the technicians hostage, threatening bloody consequences if Dolan doesn't comply with their wishes: wring a dreadful confession from his co-host Andrew (Paul Anderson).
Combining social commentary (the film touching on such topical subjects such as Brexit, pro-abortion and the me-too movement) with brutal violence, Feedback is clearly intended to be an edgy, uncompromising survivalist/revenge horror/thriller, but simply comes off as dumb and tedious, with a lead character whose personality immediately had my back up.
The first half of the film is unbearably slow and uneventful, as Dolan pollutes the airwaves with his diatribe; the second half of the film picks up the pace a little but becomes incredibly daft in the process: are radio studios so isolated that no-one outside would realise what is happening?; is security so lax that a group of strangers can smuggle in a sledgehammer, a shotgun and a handy-dandy acetylene blow-torch (you know, just in case they need to bust open a sealed door)?; is a fight scene inside a cramped cavity wall anyone's idea of exciting?; and what the hell is up with those furry costumes?
The final message - that those in power are getting away with murder - is hardly revelationary and provides an unsatisfactory conclusion to an already disappointing movie.
Combining social commentary (the film touching on such topical subjects such as Brexit, pro-abortion and the me-too movement) with brutal violence, Feedback is clearly intended to be an edgy, uncompromising survivalist/revenge horror/thriller, but simply comes off as dumb and tedious, with a lead character whose personality immediately had my back up.
The first half of the film is unbearably slow and uneventful, as Dolan pollutes the airwaves with his diatribe; the second half of the film picks up the pace a little but becomes incredibly daft in the process: are radio studios so isolated that no-one outside would realise what is happening?; is security so lax that a group of strangers can smuggle in a sledgehammer, a shotgun and a handy-dandy acetylene blow-torch (you know, just in case they need to bust open a sealed door)?; is a fight scene inside a cramped cavity wall anyone's idea of exciting?; and what the hell is up with those furry costumes?
The final message - that those in power are getting away with murder - is hardly revelationary and provides an unsatisfactory conclusion to an already disappointing movie.