This review contains spoilers, click expand to view.
Like many others, I was very hopeful that Rainn Wilson would put to work some of the acting chops he showed off in James Gunn's Super. I expected some irresistible rofl moments on account of the comedic prowess he displayed for years in the Office. To our overwhelming disappointment, Wilson seems largely bored with the lead role in Backstrom. I don't blame him.
You're working with an ensemble cast here. Dennis Haysbert supplies his usual gravitas that was so compelling on such established productions as the Unit and 24. And yet, his place in the script as smirking straight man to Backstrom's supposed anarchic work ethic is completely cliche and easily forgettable. The misuse of an otherwise impressive cast (for a Fox show) gets worse from there, as it becomes apparent that Backstrom isn't the one who's a lazy, racist, slob: the producers are.
Genevieve Angelson, who does a bang-up job with what she's given, plays Wilson's no-nonsense female partner, Detective Gravely (who came up with these names?). She disapproves of everything her partner says and does and yet has a history of being Portland's favorite on-the-job vice cop slut. Haysbert's Detective Sergeant Almond appears to be too hung up on Backstrom's (not illogical, or even unusual) observation that a certain suspect stands out in an otherwise racially homogeneous crowd, to notice that he's essentially running errands for his inferior officer. Moto, the other token minority on the team, is given a few lines about how dumb he is and how great threesomes are, especially with mixed martial arts groupies. Backstrom's Indian doctor has a few lines about his patient's health, and the writers milk every Hindu-related joke that they can for the entirety of the episode.
The only person who doesn't fit snugly into a stereotype is Thomas Dekker's portrayal of the queer, underworld-connected roommate art thief (and son?), whose aforementioned adjectives are clearly spoken to the audience by Wilson as he gets another beer from the fridge whilst eating broccoli (more on that later). In fact, most of the characters in the show have so little of interest surrounding them that the writers feel the need to introduce them loudly every time they arrive on stage, lest we forget that they exist, let alone what their names are.
In addition to the overly encouraged of nap time in Fox's creative lounge, we have a director who has no idea how to set a scene or make convincing use of cuts and camera angles in an action sequence, and doesn't even get the basics of actor direction. In both scenes centered around episode bad guy "Visser" (again, who the hell is naming these people?), it isn't clear what we are supposed to be paying attention to, or what we're even watching for that matter. Only after the first scene did I really know who they were talking to. And it still didn't make sense to me how the suspect was reacting to their actions in the bar.
After the last scene, I was surprised that Backstrom had indeed shot himself and had to rewind it to understand what was going on. There's a lot to be said for using appropriate shots to give a narrative clarity. Mark Mylod's directing was clearly lacking in that regard.
Now that I've done my best to tear this pilot apart, I want to highlight a few small points which give me hope again for the series as a whole. The first is Wilson's acting (along with some halfway decent writing) in two parts. The scene where he shoots himself, and Visser, was particularly surprising. We're not given any insight into why Backstrom has a freak out when he takes out his gun. We also aren't given many clues about this condition. That makes it a season-long mystery arc (if we're lucky)! Really, Wilson's look of bewilderment and terror in that scene was as convincing as mine must have been when watching the first half of this episode.
And, in the final climax, the showdown with accomplice Cassandra, we get a taste of the drama that this show can dish out. Maybe it's just the sweeping skyline shots and the towering angles talking (good job, Mark, you figured out directing!), but this scene actually gave me some feels. Definitely a solid way to end a pilot, and rather gloriously unexpected.
So, why do I absolutely hate Backstrom so far? Because of the Broccoli and the Beer. The producers of this show have no idea who their main character is. I'm not surprised a show like this came along. Misanthropic detectives have been popular since the 19th century. Recently, we've had a string of rather quirky ones: Monk, Dexter, Sherlock, House, even Rustin Cohle of True Detective. It's fine to use this archetype in your series, and it's especially encouraged to hilariously juxtapose a diet of plain broccoli with cheap beer. But only if that oxymoron is the result of well-thought-out characterization. Too often on Backstrom, every attempt at character development turns out to be just another eccentricity scribbled into this MadLib of a TV script.… Expand