Pharrell’s Animated Biopic Populated by LEGOs 

Singer/songwriter Pharrell Williams attends the international premiere of Piece By Piece at the Princess of Wales Theater during the Toronto International Film Festival (TIFF) on September 10, 2024 in Toronto. (AFP)
Singer/songwriter Pharrell Williams attends the international premiere of Piece By Piece at the Princess of Wales Theater during the Toronto International Film Festival (TIFF) on September 10, 2024 in Toronto. (AFP)
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Pharrell’s Animated Biopic Populated by LEGOs 

Singer/songwriter Pharrell Williams attends the international premiere of Piece By Piece at the Princess of Wales Theater during the Toronto International Film Festival (TIFF) on September 10, 2024 in Toronto. (AFP)
Singer/songwriter Pharrell Williams attends the international premiere of Piece By Piece at the Princess of Wales Theater during the Toronto International Film Festival (TIFF) on September 10, 2024 in Toronto. (AFP)

The flesh-and-blood Pharrell Williams walked the red carpet on Tuesday with the star of his new animated biopic – a Pharrell Williams made of LEGO blocks – as "Piece by Piece" made its international premiere in Toronto.

The animated feature, voiced by Pharrell and fellow pop stars Gwen Stefani, Kendrick Lamar and Jay-Z, takes the audience on an unconventional journey through the musical virtuoso's upbringing and vibrant career by casting LEGO pieces as the characters in his life story.

Pharrell, a renowned recording artist, producer and songwriter, said LEGO characters, a favorite of children around the world, gave the picture a global appeal and enabled the film to sidestep cliches in telling his story.

"LEGO really helps to universalize the story so that it can be received by anyone that comes from a marginalized community," Pharrell, who has won 13 Grammy Awards, including three for Producer of the Year, said on the red carpet at the Toronto International Film Festival.

"I didn't want to tell a story that's like poverty porn. That's a usual Hollywood trope and that's not what this is."

Director Morgan Neville said one of the reasons he tackled the project was his long-standing interest in music producers, who he said often have a larger vision.

"Pharrell is famous for seeing the world a little differently and approaching music differently," Neville said on the red carpet.

The film was not the first Neville focused on musical artists. His credits include the 2015 Keith Richards documentary and 2023’s "Bono & The Edge: A Sort of Homecoming with Dave Letterman."

Neville said animation was an ideal media to tell the story of Pharrell's life.

"Pharrell has synesthesia, which means when he hears music, he sees color," the director said. "The idea that ... you could actually see the color and make all this stuff come alive and taking the beats he was writing and turn them into physical objects."

Pharrell wrote an original song for the film, also titled "Piece by Piece," about building a dream from the ground up.

He told Reuters the diversification of the LEGO characters was part of his dream.

"There's all kinds of people on this planet," he said. "All of this continues to be a gift," he said.



‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
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‘Joker 2’ Stumbles at Box Office amid Poor Reviews from Audiences, Critics

Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)
Todd Phillips, from left, Lady Gaga, and Joaquin Phoenix arrive at the premiere of "Joker: Folie a Deux" on Monday, Sept. 30, 2024, at TCL Chinese Theatre in Los Angeles. (Photo by Jordan Strauss/Invision/AP)

“Joker: Folie à Deux” is the No. 1 movie at the box office, but it might not be destined for a happy ending.
In a turn of events that only Arthur Fleck would find funny, the follow-up to Todd Phillips’ 2019 origin story about the Batman villain opened in theaters nationwide this weekend to a muted $40 million, according to studio estimates Sunday, less than half that of its predecessor. The collapse was swift and has many in the industry wondering: How did the highly anticipated sequel to an Oscar-winning, billion-dollar film with the same creative team go wrong?
Just three weeks ago, tracking services pegged the movie for a $70 million debut, which would still have been down a fair amount from “Joker’s” record-breaking $96.2 million launch in Oct. 2019. Reviews were mixed out of the Venice Film Festival, where it premiered in competition like the first movie and even got a 12-minute standing ovation, The Associated Press reported.
But the homecoming glow was short-lived, and the fragile foundation would crumble in the coming weeks with its Rotten Tomatoes score dropping from 63% at Venice to 33% by its first weekend in theaters. Perhaps even more surprising were the audience reviews: Ticket buyers polled on opening night gave the film a deadly D CinemaScore. Exit polls from PostTrak weren’t any better. It got a meager half star out of five possible.
"That’s a double whammy that’s very difficult to recover from," said Paul Dergarabedian, the senior media analyst for Comscore. “The biggest issue of all is the reported budget. A $40 or $50 million opening for a less expensive movie would be a solid debut."
“Joker: Folie à Deux” cost at least twice as much as the first film to produce, though reported figures vary at exactly how pricey it was to make. Phillips told Variety that it was less than the reported $200 million; Others have it pegged at $190 million. Warner Bros. released the film in 4,102 locations in North America. About 12.5% of its domestic total came from 415 IMAX screens.
Internationally, it's earned $81.1 million from 25,788 screens, bringing its total global earnings estimate to $121.1 million. In the next two weeks, “Joker 2” will also open in Japan and China.
Second place went to Universal and DreamWorks Animation's “The Wild Robot,” which added $18.7 million in its second weekend, bringing its domestic total to nearly $64 million. Globally, it's made over $100 million. Warner Bros.' “Beetlejuice Beetlejuice" took third place in weekend five, Paramount's “Transformers One” landed in fourth and Universal and Blumhouse's “Speak No Evil” rounded out the top five.
The other big new release of the weekend, Lionsgate's “White Bird,” flopped with just $1.5 million from just over 1,000 locations, despite an A+ CinemaScore.
Overall, the weekend is up from the same frame last year, but “Joker's” start is an unwelcome twist for theater owners hoping to narrow the box office deficit.
Phillips and star Joaquin Phoenix have said they aspired to make something as “audacious” as the first film. The sequel added Lady Gaga into the fold, as a Joker superfan, and delved further into the mind of Arthur Fleck, imprisoned at Arkham and awaiting trial for the murders he committed in the first. It’s also a musical, with elaborately imagined song and dance numbers to old standards. Gaga even released a companion album called “'Harlequin,” alongside the film.
In his review for The Associated Press, Jake Coyle wrote that “Phillips has followed his very antihero take on the Joker with a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was.”
The sequel has already been the subject of many think pieces, some who posit that the sequel was deliberately alienating fans of the first movie. In cruder terms, it’s been called a “middle finger.” But fans often ignore the advice of critics, especially when it comes to opening their wallets to see revered comic book characters on the big screen.
“They took a swing for the fences,” Dergarabedian said. “But except for a couple of outliers, audiences in 2024 seem to want to know what they’re getting when they’re going to the theater. They want the tried and true, the familiar.”
It has some high-profile defenders too: Francis Ford Coppola, who last week got his own D+ CinemaScore for his pricey, ambitious and divisive film “Megalopolis,” entered the Joker chat with an Instagram post.
“@ToddPhillips films always amaze me and I enjoy them thoroughly,” Coppola wrote. “Ever since the wonderful ‘The Hangover’ he’s always one step ahead of the audience never doing what they expect.”
“Megalopolis,” meanwhile, dropped a terminal 74% in its second weekend with just over $1 million, bringing its total just shy of $6.5 million against a $120 million budget.
Deadline editor Anthony D’Alessandro thinks the problem started with the idea to make the Joker sequel a musical. “No fan of the original movie wanted to see a musical sequel,” he wrote on Saturday.
The first film was also divisive and the subject of much discourse, then about whether it might send the wrong message to the wrong type of person. And yet people still flocked to see what the fuss was about. “Joker” went on to pick up 11 Oscar nominations, including best picture and best director, and three wins. It also made over $1 billion and was the highest-grossing R-rated film of all time, until this summer when Marvel's “Deadpool & Wolverine" took the crown.