Jamie Demetriou Archives

Review: ‘Strays’ (2023), starring the voices of Will Ferrell, Jamie Foxx, Isla Fisher and Randall Park

August 17, 2023

by Carla Hay

Reggie (voiced by Will Ferrell), Maggie (voiced by Isla Fisher), Hunter (voiced by Randall Park) and Bug (voiced by Jamie Foxx) in “Strays” (Photo by Chuck Zlotnick/Universal Pictures)

“Strays” (2023)

Directed by Josh Greenbaum

Culture Representation: Taking place in an unnamed U.S. city, the comedy film “Strays” features a cast of dogs and a predominantly white group of people (with some African Americans and Latinos) representing the working-class and middle-class.

Culture Clash: Four stray dogs band together to get revenge on the sleazy and abusive man who abandoned one of the stray dogs.

Culture Audience: “Strays” will appeal mainly to people who are fans of the movie’s headliners and anyone who doesn’t mind watching intentionally vulgar comedies about adorable animals that have some sweetness with the raunchiness.

Reggie (voiced by Will Ferrell) and Will Forte in “Strays” (Photo courtesy of Universal Pictures)

The purpose of “Strays” is to disrupt the image that people have of movies where cute animals talk. It’s the “Jackass” of talking animal movies: crude, comedic camaraderie. If you can’t tolerate a lot of jokes about bodily functions, then avoid this film.

Directed by Josh Greenbaum and written by Dan Perrault, “Strays” has been very clear in its marketing that this movie is not a “family-friendly film” that’s appropriate for people of all ages. This is most definitely a very adult-oriented film for adults who aren’t easily offended when watching movies filled with cursing, gross-out scenes involving body waste, and explicit talk about sex. The fact that domesticated dogs who talk like humans are supposed to be the source of all this raunch is the whole point of the movie.

In “Strays” (which takes place in an unnamed U.S. city but was filmed in and around Stone Mountain, Georgia), viewers are first introduced to the movie’s narrator. He’s an optimistic and eager-to-please Border Terrier (voiced by Will Ferrell), who has lived his entire life with a loser named Doug (played by Will Forte), who never gave this dog an official name. Instead, Doug calls the dog horrible names that usually have the word “shit” in the name. (In real life, this Border Terrier is a female named Sophie.)

In the beginning of the movie, bachelor Doug is unemployed and living in a messy house. Doug spends his days and nights getting stoned and masturbating. A phone conversation between Doug and his mother reveals that Doug can’t live near a school that has children, which is the movie’s way of saying that Doug is a registered sex offender. Because the Border Terrier doesn’t know any better, he thinks Doug is a great person.

Doug likes to do something that the Border Terrier thinks is a game called “Fetch and Fuck.” Doug throws a tennis ball far away, so the Border Terrier can run off and fetch the ball. Doug only does this because he hopes the dog will get lost and never find his way back home. When the dog inevitably does find his way back home, Doug says out loud in anger: “Fuck!”

One day, Doug drives the Border Terrier several miles away, into the inner part of a big city where the dog has never been to before. Doug throws the tennis ball, knowing that this dog will be too far away to walk back to the house. Doug then drives away. Doug’s heinous plan works, and the Border Terrier gets lost.

While out on the street at night, the Border Terrier meets a rebellious and tough-talking Boston Terrier named Bug (voiced by Jamie Foxx), who sees how naïve this Border Terrier is and offers to teach him how to survive on the streets as a stray dog. (This Boston Terrier’s name is real life is Benny.) Bug calls this Border Terrier the name Reggie, since that’s the name that one of Doug’s girlfriends used to call this Border Terrier.

Bug tells Reggie that humans can’t be trusted and a dog’s life is better without having an owner because the dog has the freedom to do whatever the dog wants. Bug believes that humans “brainwash” dogs into thinking that dogs need humans. Bug also tells Reggie that stray dogs shouldn’t get too close to other dogs either, because all stray dogs should eventually learn to fend for themselves. Bug’s past is eventually revealed to explain why he detests humans. One of Bug’s quirks is that he is fixated on humping inanimate objects, including furniture (Sofia Vergara voices a character called Dolores the Coach) and lawn decorations.

Soon, Reggie is introduced to two of Bug’s closest dog acquaintances: Maggie (voiced by Isla Fisher) is an Australian Shepherd who is intelligent and has a super-keen sense of smell. She is a stray because her previous owners preferred to have a puppy. (In real life, this Australian Shepherd’s name is Elsa.) Hunter (voiced by Randall Park) is a Great Dane who is insecure and often fearful. Hunter trained to be a police dog, but instead he was placed in a retirement home to be a therapy dog for the elderly residents, and he ran away. (In real life, this Great Dane’s name is Dalin.)

This motley canine quartet then goes on a series of misadventures. All other animals in the movie do not talk. The only living beings that talk in the movie are dogs and humans. An English bulldog named Chester (voiced by Jamie Demetriou) makes a brief but memorable appearance as a neurotic dog who imagines that there is an invisible, electrical fence surrounding his front yard. The four strays also encounter a German Shepherd named Rolf (voiced by Rob Riggle), a K-9 police dog who trained with Hunter at the same K-9 academy.

Two other noteworthy dog characters in the movie are a philosophical Labrador Retriever named Gus (voiced by Josh Gad) and a feisty Chihuahua named Shitstain (voiced by Harvey Guillén), who is almost as combative as Bug. And when there’s a movie about stray dogs roaming around a city, there are inevitable scenes of the dogs trying to evade capture from the animal control officers. “Strays” also has some scenes that take place in an animal shelter, where an animal control officer named Willy (played by Brett Gelman) has a job that’s similar to a jail guard/janitor.

Dennis Quaid makes a cameo portraying himself as a bird watcher. Why is Quaid in this movie? Quaid is the star of 2017’s “A Dog’s Purpose” and 2019’s “A Dog’s Journey,” two sentimental dramas about a “talking” dog (voiced by Gad) who gets reincarnated and whose thoughts are heard in voiceover narration. Quaid and Gad being cast in “Strays” is obviously the “Strays” filmmakers’ way of poking fun at family-oriented talking dog movies.

For a great deal of the story, Reggie is denial that Doug abandoned him and that Doug is not a good person. When the truth finally sinks in with Reggie, he decides that he’s going to get revenge on Doug, with the help of his new stray dog friends. If anyone watching “Strays” complains about how unrealistic this movie is, the question must be asked: “What part of ‘talking dog movie’ do you not understand?”

The comedy in “Strays” is far from award-worthy, but it does bring some laughs, and it doesn’t try to pretend to be lofty art. The biggest flaw in “Strays” is an over-reliance on jokes and gags about defecation. However, the best parts of the movie have to do with the friendship that develops between these four dogs. Hunter has a crush on Maggie, so there’s potential for more than a friendship between them.

The expressions on these dogs’ faces are enough to charm viewers who like dogs, although obviously much of what is in the movie involves visual effects using computer-generated imagery. The voice actors also play their roles capably, with Foxx and Ferrell being the obvious standouts. As long as viewers don’t have skewed or misunderstood expectations for “Strays,” it can be amusing entertainment with some genuine, laugh-out-loud moments. It’s not the type of comedy for everyone, but neither is “Jackass.”

Universal Pictures will release “Strays” in U.S. cinemas on August 18, 2023.

Review: ‘Pinocchio’ (2022), starring Tom Hanks and the voices of Benjamin Evan Ainsworth and Joseph Gordon-Levitt

September 8, 2022

by Carla Hay

Tom Hanks and Pinocchio (voiced by Benjamin Evan Ainsworth) in “Pinocchio” (Image courtesy of Disney Enterprises Inc.)

“Pinocchio” (2022)

Directed by Robert Zemeckis

Culture Representation: Taking place in an unnamed magical world, the live-action/animated film “Pinocchio” features a predominantly white cast of characters (with some black people and Latin people) representing the working-class and middle-class.

Culture Clash: An elderly wood carver makes a puppet boy that comes alive and then goes on a quest to become a human being.

Culture Audience: “Pinocchio” will appeal primarily to people who are fans of star Tom Hanks and the original 1940 “Pinocchio” movie, but all the star power of this “Pinocchio” remake can’t save the movie from being a lackluster retelling of a classic story.

Jiminy Cricket (voiced by Joseph Gordon-Levitt) and Pinocchio (voiced by Benjamin Evan Ainsworth) in “Pinocchio” (Image courtesy of Disney Enterprises Inc.)

Watching how Pinocchio’s nose grows in Disney’s original 1940 “Pinocchio” movie is much more interesting to look at than this unnecessary “Pinocchio” movie remake from filmmaker Robert Zemeckis. The original “Pinocchio” movie is a Disney animated classic. This Disney 2022 remake of “Pinocchio,” which is a live-action/animation hybrid, is like watching a substandard imitation dressed up with modern technology. Even having a talented cast isn’t enough to elevate Zemeckis’ version of “Pinocchio” out of its stagnant blandness.

Zemeckis is the director, co-writer (with Chris Weitz) and one of the producers of this version of “Pinocchio,” which is based on author Carlo Collodi’s 1883 Italian children’s novel “The Adventures of Pinocchio.” In addition to the 1940 animated film, there have been several other movie versions of “Pinocchio.” Italian actor/filmmaker Roberto Benigni directed, co-wrote and starred as the title character in a disastrous live-action reimagining of “Pinocchio,” released in 2002. Benigni then starred as Pinocchio creator Geppetto in director Matteo Garrone’s live-action “Pinocchio,” which was released in 2019 in Italy, and in 2020 and 2021 in other countries.

Zemeckis’ “Pinocchio” is the first of two “Pinocchio” movies releasing in 2022. Guillermo del Toro co-directed and co-wrote “Guillermo del Toro’s Pinocchio” (due out on Netflix in December 2022), featuring the voices of Gregory Mann as Pinocchio, Ewan McGregor as Sebastian J. Cricket and David Bradley as Geppetto. We don’t need two “Pinocchio” movies in one year. Enough already.

What viewers will see in Zemeckis’ version of “Pinocchio” is a lazy retread of Disney’s 1940 version, except for a few new characters (that don’t change the overall arc of the story), four new songs and a very different ending that’s the one truly unique thing about Zemeckis’ “Pinocchio.” Some people might not like this new ending, but the intentions are good in sending a message about celebrating self-acceptance. However, it’s not a good sign when a movie remake waits until the very end to show something that’s a surprise departure from the original movie story.

There’s no question that this version of “Pinocchio” has a talented cast, but their talents are not showcased in an exemplary way in the movie. Tom Hanks portrays Geppetto, the lonely and elderly wood carver, who makes a boy puppet named Pinocchio (voiced by Benjamin Evan Ainsworth) as a companion, because Geppetto is grieving over the deaths of his wife and son. (The movie doesn’t mention how and when they died, but Geppetto has a family photo showing him with his wife and underage son when Geppetto was a young man.) Geppetto also has a pet goldfish named Cleo and a pet cat named Figaro, whose animation makes this feline look very fake. These animal characters add nothing important to the movie.

Geppetto has a home workshop filled with clocks that he’s made, but he refuses to sell them because he says his wife adored these clocks. There’s no explanation for how Geppetto makes a living if he won’t sell what he’s made. However, it’s abundantly clear that this version of “Pinocchio” is a soulless Disney remake when it has blatant shilling of other Disney movies. Many of Geppetto’s cuckoo clocks are basically Disney merchandise, with the clocks revealing characters from Disney’s “Snow White and the Seven Dwarfs,” “Toy Story” (the Woody character, voiced by Hanks), “Cinderella,” the Zemeckis-directed “Who Framed Roger Rabbit?,” “Sleeping Beauty” and “Dumbo.”

Jiminy Cricket (voiced by Joseph Gordon-Levitt), the wise, talking cricket who becomes Pinocchio’s companion, is the narrator of this version of “Pinocchio,” and he tells the story as a flashback. This narration choice is awkward because viewers should feel like they’re going along for the ride and experiencing the journey as the characters are experiencing the story, not being guided by a know-it-all creature who tells this narration as a flashback. Jiminy Cricket’s hindsight narration ends up being a detriment to the movie.

One night, a northern star beams a light into Pinocchio, who is turned into a living, talking puppet. Jiminy Cricket is there to witness the whole thing. Shortly afterward, Pinocchio is visited by the Blue Fairy (played by Cynthia Erivo), who touches him with her wand and gives Pinocchio a mind of his own. The Blue Fairy tells Pinocchio that in order for him to become a real boy, “You have to be brave, truthful and unselfish.”

Pinocchio later finds out that when he tells a lie, his nose temporarily elongates. The bigger the lie, the longer his nose gets. When he tells the truth again, his nose goes back to its original size. This pivotal plot development gets very underwhelming treatment in this “Pinocchio” remake, compared to how it was better-used in the original “Pinocchio” movie.

Of course, Geppetto is shocked that Pinocchio has come to life. He treats Pinocchio like a son, but Pinocchio still longs to be human. There’s a lot of talk in the movie about Pinocchio wanting a conscience as part of his humanity. And it isn’t long before Pinocchio ends up being separated from Geppetto. Pinocchio unwittingly becomes part of a traveling circus and is financially exploited by a magician named Stromboli (played by Giuseppe Battiston), who is helped by two con artists: a sneaky red fox named Honest John (voiced by Keegan-Michael Key) and his mute alley cat sidekick Gideon.

Other familiar “Pinocchio” characters are in this remake: street urchin boy Lampwick (played by Lewin Lloyd) befriends Pinocchio. And the villainous Coachman (played by Luke Evans, hamming it up to the hilt) is also in the movie. This “Pinocchio” remake keeps the same story line for Pleasure Island, which has some of the movie’s best visual sequences.

There are three new characters that give this version of “Pinocchio” more female representation than the original “Pinocchio” movie: a talking seagull named Sofia (voiced by Lorraine Bracco); a circus puppeteer named Fabiana (played by Kyanne Lamaya), who wears a leg brace that’s mentioned in the movie; and a French ballerina puppet named Sabina (voiced by Jaquita Ta’le), who is Fabiana’s constant companion. These characters don’t change the basics of the story, but they just allow the movie to have more diverse characters interact with Pinocchio.

This version of “Pinocchio” has somewhat of a useless sequence of Pinocchio trying to fit in with human children at a school. The school has a teacher named Signora Vitelli (played by Sheila Atim) and a headmaster (played by Jamie Demetriou), who expels Pinocchio from the school when the headmaster finds out that Pinocchio is not a human boy. It’s just another way to show why Pinocchio is desperate to become human, because Pinocchio wants to please his father by going to school to get an education.

This remake of “Pinocchio” makes a half-hearted attempt to be a musical, but there are only seven songs that are sung in the movie. Alan Silvestri and Glen Ballard wrote four original songs for this movie, with all of them unremarkable and not worthy of praise: “When He Was Here With Me” and “Pinocchio Pinocchio,” performed by Hanks; “I Will Always Dance,” performed by Lamaya; and “The Coachman to Pleasure Island,” performed by Evans. The Leigh Harline/Ned Washington-written songs from 1940’s “Pinocchio” that are in this “Pinocchio” remake are “Hi-Diddle-Dee-Dee (An Actor’s Life for Me),” performed by Key; “I’ve Got No Strings,” performed by Ainsworth; and “When You Wish Upon a Star,” performed by Erivo.

This version of “Pinocchio” has a mishmash of international language accents, some delivered in better ways than others. Hanks’ Geppetto accent drifts in and out of sounding Italian and American. Lloyd’s version of Lampwick has an accent that sounds half-British, half-Brooklynite. It’s as if the actors know this “Pinocchio” movie is far from award-worthy, and some of them didn’t bother to work on having a consistent talking accent for their characters.

Disney has been getting criticism for doing inferior remakes of classic Disney animated films. This version of “Pinocchio” is an example of why this criticism exists. Disney had such little faith in this version of “Pinocchio,” it was not released in theaters. Disney also placed a review embargo on this version of “Pinocchio,” so that critics could not publish reviews of the movie before Disney+ released the movie to the public. This late embargo is always a sign of a bad film. Pinocchio should hold his nose for being in this stinker movie.

Disney+ premiered “Pinocchio” on September 8, 2022.

Review: ‘Eurovision Song Contest: The Story of Fire Saga,’ starring Will Ferrell and Rachel McAdams

June 26, 2020

by Carla Hay

Will Ferrell and Rachel McAdams in “Eurovision Song Contest: The Story of Fire Saga” (Photo by John Wilson/Netflix)

Culture Representation: Taking place in Iceland and Scotland, the musical comedy “Eurovision Song Contest: The Story of Fire Saga” has a predominantly white cast (with some black people, Asians and Latinos) representing the middle-class and wealthy.

Culture Clash: An Icelandic male/female pop-music duo called Fire Saga aspire to on the annual Eurovision Song Contest, but they come up against naysayers in their home country as well as competitors from other countries.

Culture Audience: “Eurovision Song Contest: The Story of Fire Saga” will appeal primarily to fans of stars Will Ferrell and Rachel McAdams, as well as to people who like good-natured satires of fame seekers and hokey TV talent contests.

Dan Stevens in “Eurovision Song Contest: The Story of Fire Saga” (Photo by John Wilson/Netflix)

“Eurovision Song Contest: The Story of Fire Saga” is an entertaining parody of the famous annual Eurovision Song Contest that feels retro and contemporary at the same time. The contest, which began in 1956 and is televised in numerous countries, has singers (usually performing pop music) competing from different countries around the world, as a sort of an Olympics for aspiring music stars. Will Ferrell and Rachel McAdams portray the earnest but naïve Lars Erickssong and Sigrit Ericksdottir, a musical duo from Iceland who perform under the stage name Fire Saga. Ferrell, who co-wrote the original screenplay with Andrew Steele, is one of the producers of this comedy. And it’s one of Ferrell’s best movies in years.

Although “Eurovision Song Contest: The Story of Fire Saga” (directed by David Dobkin) takes place in the present day, a lot of the musical sensibilities and costumes seem to be stuck in a previous decade, especially the 1980s or 1990s. The movie’s running joke, although not explicitly stated, is that certain parts of Europe are “behind the times” in pop music, because these countries rarely produce groundbreaking pop superstars on a worldwide level. Therefore, the performers who represent these countries at Eurovision are often ridiculed by Eurovision haters for looking and sounding outdated.

The trailer for “Eurovision Song Contest: The Story of Fire Saga” already shows that Fire Saga made it to the contest. Therefore, the first third of this 123-minute movie has no suspense, since it’s all about the obstacles that Fire Saga encounters in the quest to make it to Eurovision. Iceland has never had a Eurovision winner, so that immediately makes Fire Saga the ultimate underdog act.

The movie begins in Húsavík, Iceland, on April 6, 1974, when a pre-teen Lars (played by Alfie Melia), his stern widower father Erick (played by Pierce Brosnan) and other members of the family are watching Eurovision in the living room. The Swedish pop group ABBA is performing “Waterloo,” and Lars is transfixed. (ABBA won Eurovision that year and has remained Eurovision’s most famous winning act.)

As Lars dances along to ABBA performing on TV, he announces to his family that someday, he’s going to be a contestant on Eurovision. Several people scoff at the idea, including Erick, who says he’d rather be dead than to have his son sing and dance on Eurovision. Well, you know what that means.

About 45 years later, Lars is still living with his father, who makes a living as a fisherman, while Lars has a job giving parking tickets. Lars and his musical partner Sigrit (who is a music teacher) are longtime friends. They are singers and multi-instrumentalists, but they’ve been floundering in the dead-end local music scene. Fire Saga’s music “career” consists of rehearsing in the basement of Erick’s house and performing at a small local bar.

A running joke in the movie is that the patrons of this bar don’t want to hear any Fire Saga original songs (such as the trash-tastic “Volcano Man”) and would rather hear Fire Saga perform a very childish, nonsensical tune called “Jaja Ding Dong.” The audience is so fanatical about “Jaja Ding Dong” that they will often demand that Fire Saga perform it more than once in a single set. Is it any wonder that Lars and Sigrit think Eurovision will be their ticket out of this backwards town?

Erick isn’t the only one who thinks Lars is a loser and that it’s a delusional lost cause for Fire Saga to be on Eurovision. Sigrit’s single mother Helka (played by Elin Petersdottir) vehemently disapproves of Sigrit chasing this dream and tells Sigrit that she’s wasting her time with Lars. Although it’s not shown in the movie, it’s mentioned that Sigrit used to be mute as a child, until she met Lars and he helped her find her voice through music. And Lars and Sigrit have been friends ever since.

But now that they’re adults, Sigrit wants to be more than friends with Lars, because she’s secretly in love with him. Lars has the maturity level of a teenager (like most characters Farrell tends to play), so Lars is completely oblivious to Sigrit’s true feelings for him. As if to make the point that Lars and Sigrit don’t exude sexual chemistry with each other, throughout the movie, people who meet Lars and Sigrit for the first time mistakenly assume that Lars and Sigrit are brother and sister. Later in the story, when Sigrit and Lars almost kiss romantically, he stops it from happening because he says they can’t ruin their work relationship with a romance, and they have to stay focused on winning Eurovision.

But getting to Eurovision won’t be so easy. First, Fire Saga has to win the Icelandic Song Contest. Neils Brongus (played by Ólafur Darri Ólafsson), the president of Icelandic Public Television, leads a committee in charge of deciding who will be contestants in the Icelandic Song Contest. And he already has a favorite to win: Katiana Lindsdottir (played by Demi Lovato), from Kefalvik, a ready-made pop star with a powerful singing voice.

Neils tells his assembled team after watching Katiana’s audition video: “Without being dramatic, I think it might be the best audition tape we ever had in the history of the Icelandic Song Contest.” (In the movie, Lovato sings the original song “In the Mirror.”) Compared to Katiana, Fire Saga looks like a bad joke.

Meanwhile, Victor Karlsson (played by Mikael Persbrandt), governor of Central Bank of Iceland, is worried about a contestant from Iceland winning Eurovision, which has a tradition of the winning contestant’s country hosting the contest in the following year. Victor fears that Iceland doesn’t have the infrastructure to accommodate the hundreds of thousands of people who would come to Iceland for Eurovision. And he thinks that all those visitors during a short period of time could bankrupt Iceland.

Therefore, Victor is not enthusiastic about Katiana or anyone from Iceland winning Eurovision. When Victor expresses his concerns to Neils and the team at Icelandic Public Television, the rest of the group immediately shoots down Victor’s pessimistic prediction, because they think Eurovision coming to Iceland would be great for the Icelandic economy.

Lars’ dream of wining Eurovision becomes even more desperate when he finds himself homeless. His father Erick is having serious financial problems and has a choice to sell his house or sell his boat. Since Erick needs his boat for his fisherman income, he decides to sell the house.

Meanwhile, Sigrit has a quirk that Lars finds a little irritating: She believes in elves and thinks that elves can grant wishes. A recurring joke in the movie is that she visits a group of tiny houses built for elves and offers food and other gifts to the unseen creatures, as a way to entice them to grant her wishes. Two of her biggest wishes are to win Eurovision and to get together with Lars and start a family with him.

Through a series of unpredictable events, Fire Saga ends up representing Iceland at Eurovision, which is being held in Edinburgh, Scotland. How the usually hapless Fire Saga got to Eurovision wasn’t necessarily because Fire Saga was voted the best act, so Iceland’s support is lukewarm at best. Still, Iceland has given Fire Saga enough support that the country has hired a creative team to help Fire Saga win with Fire Saga’s chosen song “Double Trouble.”

The artistic director of this creative team is the very fussy and flamboyant Kevin Swain (played by Jamie Demetriou, in a scene-stealing performance), who sometimes clashes with the creative vision that Lars and Sigrit have for Fire Saga. During Eurovision rehearsals, Lars and Sirgit also meet another flamboyant character: Russian contestant Alexander Lemtov (played by Dan Stevens), a singer who flaunts his wealth and gives the impression that he will sleep with anyone to get them to do what he wants. Alexander’s Eurovision song is called “Lion of Love,” and his bombastic performance of the song includes a homoerotic choreography with male backup dancers wearing skintight gold lamé pants.

Alexander (whose frosted 1980s hairdo is reminiscent of George Michael in his Wham! days) immediately sets his sights on Sigrit to target as a sexual conquest. Meanwhile, Lars attracts the amorous attention of Greek contestant Mita Xenakis (played by Melissanthi Mahut), a singer who’s like a cross between Ariana Grande and Cher. Not surprisingly, some jealousy situations ensue.

In between all of the backstage drama and hilariously tacky performances, the movie has a standout musical ensemble number that takes place at a contestant party thrown by Alexander. In this scene, numerous contestants (including Lars, Sigrit, Alexander and Mita) do an extravagant medley of Cher’s “Believe,” Madonna’s “Ray of Light,” ABBA’s “Waterloo” and the Black Eyed Peas’ “I Gotta Feeling.”

Savan Kotecha, the musical director for this movie, assembled the team that wrote the film’s original songs that were deliberately kitschy. His background in writing and producing hits for real-life pop stars serves this movie very well. Among the hits that Kotecha co-written and co-produced include The Weeknd’s “Can’t Feel My Face,” Grande’s “God Is a Woman,” One Direction’s “What Makes You Beautiful” and Lovato’s “Confident.” The musical score by Atli Örvarsson complements the pop tunes without being overbearing.

The movie’s Eurovision performance scenes, which includes footage from real Eurovision arena shows, are among the comedic highlights of the film. Just when you think an act couldn’t get campier or more pompous, another one comes along to surpass it. Graham Norton (portraying himself) adds an element of satirical realism with his cameo as the sardonic TV commentator for Eurovision.

For “Eurovision Song Contest,” McAdams and Ferrell have reunited with their “Wedding Crashers” director Dobkin, whose previous experience as a music-video director is an asset for this musical movie. As for the singing in the movie, Lovato and Mahut are professional singers in real life, so they did their own vocals. Adams’ vocals were either her own or a combination of McAdams and those of Swedish singer Molly Sandé. Alexander’s operatic singing vocals were provided by Erik Mjönes.

“Eurovision Song Contest: The Story of Fire Saga” has plenty of lowbrow jokes that are actually laugh-out-loud funny. For example, there are several penis jokes and jokes about naked men in the movie. The jokes are crude but not offensive. In one scene, Lars comments: “I think of my penis like a Volvo—solid, sturdy, dependable, but not going to turn any heads.” Comedy is all about delivery, and Ferrell delivers the line in such a good natured, self-deprecating way, that it will make people laugh.

The movie doesn’t just poke fun at tacky aspiring pop stars from Europe. Americans are also the butt of many jokes in the film. During the course of the movie, Lars and Sigrit keep encountering the same group of college-age American tourists. Lars makes it known that he dislikes Americans, by taunting the tourists with the worst “ugly American” stereotypes. His insults aren’t too far off from how many non-Americans perceive Americans.

Make no mistake: “Eurovision Song Contest: The Story of Fire Saga” is by no means an Oscar-worthy movie. (Ferrell has never starred in that type of movie anyway.) But it is a cut above some of the stinkers that Ferrell has been headlining in recent years. At its heart, “Eurovision Song Contest” has a sentimentality to it that just might win people over in the way that Fire Saga earnestly tries to charm audiences—not by being the most talented but by being their unapologetically corny selves.

Netflix premiered “Eurovision Song Contest: The Story of Fire Saga” on June 26, 2020.