Name: Eurovision Song Contest: The Story of Fire Saga
Genre: Music, Comedy
Released: 2020-06-26T00:00:00+00:00
Cast: Rachel McAdams, Will Ferrell, Pierce Brosnan, Dan Stevens, Jamie Demetriou

The moment Sigrit Ericksdóttir (Rachel McAdams) gets tangled in a hamster wheel during Iceland’s Eurovision semi-final performance, Eurovision Song Contest: The Story of Fire Saga stumbles into its most iconic—and problematic—scene. Directed by David Dobkin with a script from Will Ferrell and Harper Steele, this musical comedy aims for the absurdity of The 40-Year-Old Virgin meets the spectacle of Mamma Mia!, but too often settles for a lukewarm mashup.

Ferrell’s Lars Erickssong is a wide-eyed dreamer convinced he’ll win Eurovision, while McAdams’ Sigrit is his long-suffering partner, burdened by his delusions. Their dynamic—equal parts sibling rivalry and unspoken romance—is the film’s strongest asset, especially in quieter moments like their late-night heart-to-heart on a Scottish dock. Ferrell’s physical comedy shines here, whether he’s flailing through an ill-advised volcano-themed performance or deadpanning his way through Eurovision’s political machinations.

But the film struggles to balance its tonal whiplash. The opening act in Iceland is charmingly quirky, with Ferrell and McAdams bouncing off each other like a mismatched but lovable duo. Yet once they arrive in Edinburgh for the competition, the pacing drags. Subplots—like Lars’ rivalry with Russian contestant Alexander Lemtov (Dan Stevens) or Sigrit’s flirtation with Lemtov—feel underdeveloped. Stevens, usually a scene-stealer, is sidelined into a one-note villain, while Jamie Demetriou as the clueless Eurovision host Kevin Swain delivers some of the film’s funniest lines but isn’t given enough to do.

The original music, however, is a highlight. Ferrell’s power ballad “Husavik (My Hometown)” earned an Oscar nomination for good reason—it’s earnest, catchy, and elevated by his surprisingly soulful vocals. The film’s other songs range from whimsical (“Double Trouble”) to bombastic (“Volcano Man”), but they’re often undercut by the awkward staging or pacing issues. A sequence where Lars and Sigrit rehearse their song in a hotel room should be a standout, but it’s bogged down by overly long cuts of Ferrell mugging for the camera.

The film’s biggest misstep is its runtime. At nearly two hours, Fire Saga feels bloated, especially when the second act devotes excessive screen time to Lars’ increasingly ridiculous staging ideas (including a hamster wheel, because why not?). The pacing issues are compounded by a screenplay that struggles to decide if it’s a love story, a satire of Eurovision, or just a vehicle for Ferrell’s antics. By the time the final act rolls around, the emotional beats—like Lars and Sigrit finally addressing their feelings—lack the weight they deserve.

Still, there are moments of pure delight. Pierce Brosnan as Lars’ estranged father Erick steals every scene he’s in, delivering deadpan one-liners with a straight face. The cameos from real-life Eurovision contestants add a fun meta-layer, and Ferrell’s commitment to his role—whether he’s singing, dancing, or just looking bewildered by the chaos around him—is undeniable.

Ultimately, Eurovision Song Contest: The Story of Fire Saga is a film that wants to be many things but never fully commits to any of them. It’s funny when it leans into its absurdity, touching when it focuses on Lars and Sigrit’s bond, and visually inventive during its musical numbers.