At its core, The Signal is a compelling mystery made even more interesting by its sci-fi elements and tender father-daughter moments. The problem is that it goes on for way too long. This could’ve been a very engaging two-hour film, watchable from start to end, but because of its convoluted storytelling and unnecessarily slow pace, it’s an overlong four-part series. There’s a sense that writer and star Florian David Fitz, who plays Sven, had too much fun with the script’s non-linear and multi-perspective approach, but instead of elevating the material, it drags it down with lulls and entire scenes that could’ve been removed from the final cut. The Signal is not necessarily bad; in fact, for a series, it’s impressive how high its production value is and how trippy its mystery gets. But it would’ve been more impressive if Fitz had trimmed the fat off the story and condensed it into the feature-length film it should’ve been.

The father-daughter bond between Sven and his daughter Charlie (Yuna Bennett) is so real and raw. The series could do with more of their shared moments.