NEW YORK (CNS) — Acclaimed actor Andre Holland ("Selma"), a 1997 graduate of John Carroll Catholic High School in the Diocese of Birmingham, Alabama, stars in and executive produced "The Eddy."

This overly tangential and slow moving eight-episode limited-series drama, a joint French-American production, streams now on Netflix.

Better things might have been expected from what turns out to be a tedious show given not only Holland's participation but the professional pedigrees of some of those working exclusively behind the scenes. They include Oscar-winning "La La Land" director Damien Chazelle, Emmy winner Alan Poul and BAFTA honoree Jack Thorne ("The Fades").

Chazelle and Poul each directed two episodes, and, like those who helmed the other installments, they leaned heavily on hand-held cameras. These are presumably meant to convey the rapidly changing and discombobulated universe of the contemporary jazz night club in Paris that serves as the main setting for the series.

Rated TV-MA — mature audience only — "The Eddy" showcases a fair amount of violence, including a murder that's integral to the plot. Some of its characters purchase and use illicit drugs and struggle with substance abuse. The dialogue regularly employs coarse and vulgar language that often comes across as gratuitous.

The series also portrays some sexuality, including a scene of largely offscreen gay relations. But it's a prolonged reference to quasi-incestuous underage activity that may most disturb viewers.

Visiting her club-owner father, Elliot Udo (Holland), 16-year-old Julie (Amandla Stenberg) describes with crass frankness to her international school classmate Beatrice (Liah O'Prey) the voluntary affair she'd engaged in with her (unnamed) stepfather.

As viewers will discover, Julie is troubled enough without having the writers add this lurid element to her backstory.

"The Eddy" is obviously unsuitable for youngsters or adolescents. But given its large quotient of problematic material, even most adults may find it distasteful.

The show takes its name from that of the club Elliot co-owns with Farid (Tahar Rahim). Once a celebrated jazz pianist in New York, Elliot has been in Paris only a few years, having arrived there while still reeling from the death of his son, Fred. Not having performed for a while, he conducts the club's house band instead.

The lyrics of the program's theme song suggest the troubles that lie ahead for Elliot. They speak of a "vortex of sound" engendering "secret desires" leading to "sweet surrender" "pulling you under the eddy."

Julie's arrival from New York disrupts Elliot's life. But it's his discovery of Farid's unsavory connection with a counterfeiter named Zivko (Alexis Manenti) that drags Elliot into a dangerous cesspool. His partner had turned to the criminal to bolster their struggling enterprise.

As a result of the debt into which they've fallen, Elliott is assaulted, and later Farid is killed. To add to Elliot's woes, Commandant Keita (Leonie Simaga), a cynical police detective, is convinced — based solely on conjecture and intuition — that Elliot had something to do with the murder.

Simultaneously, Elliot has to contend with his rebellious and volatile daughter, who has taken to indulging in casual sexual dalliances and cocaine. He also attempts to repair his tempestuous relationship with his on-again, off-again girlfriend Maja (Joanna Kulig), his band's lead singer.

Despite the problems of his chaotic, dangerous life, Elliot remains intent on returning to live performing. Thanks to Grammy Award-winning composer Glen Ballard's soundtrack and the real-life musicians among its cast, "The Eddy's" musical performances will stand out to viewers, regardless of what they may think of the rest of the series.

The decision to structure each chapter around one character, by contrast, works against the program. Episodes featuring peripheral figures — Jude (Damian Nueva), the band's bass player who struggles with a heroin addiction, for instance — may be interesting on a human level. But they unnecessarily remove viewers from the primary narrative and delay its resolution.

The series thus resembles bad jazz; it's too discursive and prolonged. Yet it's the tendency of many of the show's characters to express their emotions at the top of their lungs that proves even more grating and tiresome. Where "The Eddy" is concerned, accordingly, potential viewers would be better off exploring the soundtrack rather than sitting through the series.