Eurovision Song Contest review: Catchy songs make this a Netflix hit

The happiness of doing karaoke has absolutely nothing to do with looking cool or always even striking the best notes– it has to do with leaving inhibitions behind and providing your all to the minute. Simplified as it may sound, it’s just about having a good time. That sense of pure, unironic happiness is what makes Netflix’s new musical comedy Eurovision Song Contest: The Story of Fire Saga truly sing. Director David Dobkin does not land every beat, however he use that well of carefree exultation so potently that the movie’s stumbles barely register.

In the first minutes of the movie, a young young boy is enchanted by ABBA’s performance of “Waterloo” in the real- life 1974 Eurovision contest. (The event, which has actually been going on because 1956, calls for European countries to send musical acts to compete.) There’s no paradox to his love of the group’s poppy song or glittery costumes; when the grownups around him make fun of his interest, he chews out them to sufficeout One day, he says, he’ll be the one carrying out on the Eurovision phase.

Fast-forward to today day, and Lars (Will Ferrell) still dreams of completing. His father Erick (Pierce Brosnan, just 15 years older than Ferrell) disapproves, however Lars is buoyed along by his youth best good friend and current musical partner Sigrit (Rachel McAdams). Their band, Fire Saga, just ever carries out in Erick’s garage and in the regional club, however a chance series of events provides a chance at Eurovision popularity and fortune.

mcadams looked shocked as ferrell is suspended inside a giant hamster wheel

Rachel McAdams and Will Ferrell in Eurovision SongContest

Image: John Wilson/Netflix

It’s simple to think where the story is headed at any provided time, and some of the jokes, from a script composed by Ferrell and Andrew Steele, welcome sighs instead of laughs. The cars fade from memory as soon as the characters open their mouths to sing. The songs– Fire Saga’s, and every other rival’s– are legally catchy, which is stunning for any movie that isn’t a stringent musical, however less so considered that they’re composed by the likes of Savan Kotecha (Katy Perry’s “Rise,” much of Ariana Grande’s Sweetener) and Andreas Carlsson (the Backstreet Boys’ “I Want It That Way” and NSYNC’s “Bye Bye Bye”). The music hasn’t been half- assed; like whatever else in the movie, the songs have actually been crafted with love.

The cast is likewise devoted, especially McAdams, who needs to offer Sigrit’s commitment to Lars (and her belief in fairies) without making her out to be a complete fool. The emphasize, nevertheless, is Dan Stevens’ performance as Alexander Lemtov, a Russian vocalist also completing inEurovision Lemtov is as theatrical as they come– his song, “Lion Of Love,” includes a lot of suggestive motion and shirt-ripping– and Stevens leans fully into the preening, wiggling his eyebrows and winking like some kind of flirtingmachine That outsized existence does not reduce the effect of a later on discovery about his individual life. These characters appear silly, however that does not indicate they aren’t worth thinking about with compassion and care.

stevens is shirtless in front of four back-up dancers

Dan Stevens in Eurovision SongContest

Image: John Wilson/Netflix

To that end, Eurovision remembers movies like Mamma Mia! and The Best Showman, which can not be delighted in while holding on to any vestige of paradox. There’s no such thing as a guilty satisfaction, as far as these movies are concerned; there’s only satisfaction. It’s a point best made by a “song-along” midway through the movie, in which Lars and Sigrit end up at a enormous house party along with past, real- life Eurovision participants like Conchita Wurst, John Lundvik, Bilal Hassani, and Netta. The vocalists balance as they mix songs together in the kind of mash-up (“Believe,” “Waterloo,” “Ray of Light,” “I Gotta Feeling,” “Ne Partez pas Sans Moi”) that Glee might just dreamof They’re all tacky, glittery songs, however there’s no belittling them for the sake of more “serious” art, here. Instead, the minute is victorious. (Eurovision babbles a bit more than Mamma Mia!, however Dobkin thankfully takes it less seriously than director Michael Gracey took The Best Showman.)

There are definitely minutes where Eurovision drags, however as a de facto replacement for this year’s pandemic-cancelled contest, it’s more than appropriate. Dobkin and company entirely comprehend that the real- life contest is extensively precious due to the fact that of its pure enthusiasm instead of as something to be looked at and buffooned. The movie welcomes that unwavering earnestness, and the result is a never ever negative however endearingly ridiculous comedy with songs as remarkable as anything that’s been carried out in the real- life contest.

Eurovision Song Contest: The Story of Fire Saga is streaming on Netflix now.

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Neela Josh
Neela Josh
I work as the Content Writer for Gaming Ideology. I play Quake like professionally. I love to write about games and have been writing about them for two years.

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