Billy Crystal Drama ‘Before’ Is a Stagnant, Repetitive Mess: TV Review

As a movie critic who has spent countless hours sifting through the cinematic swamp that is modern television, I must say “Before” left me feeling as if I had waded through a particularly muddy marsh for no reason other than to reach an unsatisfying conclusion. The series, with its atmospheric yet stagnant pacing, is reminiscent of a long, dreary road trip that leads nowhere.

The promotional materials for “Before” on Apple TV+ label the thriller as “atmospheric,” but this essentially means that while the 10-part season has a lot of buildup, it delivers very little in terms of actual payoff. Despite each episode being about half an hour long, some even falling below the 25-minute mark, the drama still feels slow and drawn out. It seems to continuously reuse the same plot points and visual elements just to fill time, ultimately leading to an unsatisfying ending. In television, where atmosphere should drive momentum, a lack of progression can result in a stagnant narrative.

As a film enthusiast, I must acknowledge that “Before” chooses to emphasize its somber, mud-soaked atmosphere over the star power of its performances, which many limited series focus on to draw in viewers with the allure of famous faces. Produced by Sarah Thorp (“Damien”), this series features Billy Crystal as Eli Adler, a child psychologist grappling with the loss of his wife Lynn (Judith Light), who succumbed to cancer after a lengthy battle. Regrettably, despite Crystal’s executive producer role, his first series regular gig since 2015 – yes, you might recall “The Comedians” – feels like an unfortunate squandering of his witty charisma.

Eli’s sorrow is momentarily disrupted when Noah (Jacobi Jupe), a distressed 8-year-old, appears, seemingly attracted to Eli even before he takes formal responsibility for him. Noah has some peculiar characteristics: He sketches a farmhouse that mirrors a photograph Lynn had left behind, and the narrative unfolds in his hallucinations, where we see writhing tentacles and rising waters reminiscent of the bathtub where Lynn passed away. Initially, the direction, under Adam Bernstein’s leadership during the pilot episode, successfully creates an unsettling, creepy atmosphere, as seen in Eli’s vivid dreams depicting his own demise in an empty swimming pool.

Despite the dry humor that characterizes Crystal’s on-screen persona, his real-life performance lacks the subtle cynicism typically associated with it. “Before” doesn’t depict a comedian turning earnest in an effort to gain prestige; instead, Eli is introduced as a skeptic reluctant to acknowledge both the supernatural elements of Noah’s condition and his own emotional baggage. This contrast is subtly hinted at in brief moments. (For instance, when Eli is told “the water energy is very powerful” in the place where Lynn spent her last moments, he responds sarcastically: “Well, it is a bathroom.”) However, this aspect of Eli’s character is soon overshadowed by his growing hysteria and repetitive conversations with Noah that follow a predictable pattern. Noah, urged by Eli to recount his mysterious past, falls into a state of silent terror; Eli, becoming more agitated, presses a nonverbal child for answers about the situation at hand.

The story “Before” features repetitive themes, particularly in the performance of its characters. Jupe, despite being young, handles his role admirably, yet he consistently portrays Noah’s hallucinations, fear, and anxiety, which disrupt the adults. Rosie Perez, playing Noah’s foster mother Denise, maintains a single emotional note of tearful, panicked shouting. In a tough competition, Light may be the most neglected character, serving as Eli’s silent, spectral representation of guilt due to her role as a typical ‘Dead Wife’. Ava Lalezarzadeh completes the ensemble of underdeveloped supporting characters, functioning as Eli’s Gen Z assistant who delivers exposition.

As Eli becomes increasingly close to Noah, he also begins experiencing things that seem not to exist, such as a faint dripping sound which carries connotations of torment. As the duration of “Before” exceeds significant progress in its central enigma, viewers may find themselves empathizing excessively with Eli’s suffering. By the finale, the suspense that “Before” generates revolves more around why the series chose to distribute its revelations haphazardly and without any lead-up to provide context for them.

Noah’s symptoms are sparse and scattered throughout the series. In one of his early outbursts, he starts speaking Dutch, a peculiarity that Eli only briefly explores before it’s largely overlooked for the remainder of the story. Later, Eli hypothesizes that Noah’s predicament might be connected to Lynn’s former boyfriend, a character who hasn’t been mentioned until he suddenly becomes crucial to the plotline. The ending of the series seems disconnected from its earlier scenes, as if it were transplanted from a completely different show.

Many miniseries such as the latest “Disclaimer,” an Apple production, expand a typical feature film’s narrative to suit their format. However, this isn’t entirely true for “Before.” Instead, the series presents a perplexing and ultimately unsatisfying experience. The show could have delved deeper into Eli, a character reminiscent of Dana Scully, questioning the supernatural, or his complex relationship with his adult daughter Barbara (Maria Dizzia). Yet, it chooses to tread water instead, resulting in an ending that doesn’t offer much insight into Eli’s personality. “Before” succeeds in creating a compelling atmosphere, but struggles with what comes next.

You can now watch the initial two episodes of the series “Before” on Apple TV+. New episodes will be released every Friday for your weekly viewing pleasure.

2024-10-25 16:16

Billy Crystal Drama ‘Before’ Is a Stagnant, Repetitive Mess: TV Review

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