Movie Review: ‘Piece by Piece,’ a Very Odd Lego Doc about Pharrell Williams Snaps Together Somehow

 This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)
This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)
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Movie Review: ‘Piece by Piece,’ a Very Odd Lego Doc about Pharrell Williams Snaps Together Somehow

 This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)
This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)

A movie documentary that uses only Lego pieces might seem an unconventional choice. When that documentary is about renowned musician-producer Pharrell Williams, it's actually sort of on-brand.

“Piece by Piece” is a bright, clever song-filled biopic that pretends it's a behind-the-scenes documentary using small plastic bricks, angles and curves to celebrate an artist known for his quirky soul. It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it's a bit of both.

Director Morgan Neville — who has gotten more and more experimental exploring other celebrity lives like Fred Rogers in “Won’t You Be My Neighbor?,” “Roadrunner: A Film About Anthony Bourdain” and “Steve! (Martin): A Documentary in Two Pieces” — this time uses real interviews but masks them under little Lego figurines with animated faces. Call this one a documentary in a million pieces.

The filmmakers try to explain their device — “What if nothing is real? What if life is like a Lego set?” Williams says at the beginning — but it's very tenuous. Just submit and enjoy the ride of a poor kid from Virginia Beach, Virginia, who rose to dominate music and become a creative director at Louis Vuitton.

Williams, by his own admission, is a little detached, a little odd. Music triggers colors in his brain — he has synesthesia, beautifully portrayed here — and it's his forward-looking musical brain that will make him a star, first as part of the producing team The Neptunes and then as an in-demand solo producer and songwriter.

There are highs and lows and then highs again. A verse Williams wrote for “Rump Shaker” by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner Chad Hugo — Kendrick Lamar, Justin Timberlake, Snoop Dogg, Busta Rhymes, Gwen Stefani, Missy Elliott and Jay-Z. All those superstars sit for interviews and have hysterically been depicted as Lego minifigures, right down to No Doubt's Adrian Young's mohawk. (Take my money, Lego.)

We also learn something about his wife, Helen, and his anguish over being a solo artist, an opportunity he spurned when it was his for the taking. Ultimately, we learn to understand his futuristic approach to fashion and music. “What I am is a maverick,” he says. No one will question him on that.

The 3D world the filmmakers have made is astonishing, with waves of clear Lego pieces washing up on a beach made of slats of Lego baseplates and Williams' collection of cool beats depicted as bouncing bricks with lights in them. There's Lego McDonald's nuggets, Lego pretzels, singing Lego fish and a Lego Anna Wintour, chilly and haughty in plastic, too.

Lego, while seemingly a restrictive medium — the hands are clips and everyone's walking is robotic since there are no Lego knees — can also, apparently, in the right hands soar, and here they do, with Williams in one gorgeous dream sequence watching the Earth's lights as a distant astronaut. It is when the filmmakers make Lego appear as water and music that are their crowning achievements.

Music credits are notoriously hard to pin down — Williams claims to have created McDonald's notoriously mysterious jingle “I'm lovin' it” — and the filmmakers try to cover any misinformation with a simple disclaimer in the end credits: “Not everything in this film is 100% accurate. For example, Pharrell never went to space.”

There are also some extraordinary moments that snap by but likely took months to make, like a Lego glimpse of the “I Have A Dream” speech by the Rev. Martin Luther King Jr. at the Lincoln Memorial and protest footage from Black Lives Matter figurines shouting “Don’t shoot!”

The documentary lags a little during Williams' way up and rushes the years on top, although recreations of some of the music videos he fueled are too funny. Why he and Hugo broke up is papered over and the filmmakers struggle to find an ending, making several stutter steps.

“I think we're done,” are the last words we hear as the filmmakers finally give up. But they've left behind a trippy, sweet portrait of a genius, forever in building blocks.



Queen’s Brian May Outraged by AI-Generated Image of Freddie Mercury

On July 13, 1985, Freddie Mercury of Queen takes the stage at the Live Aid rock festival held in London, England. Reuters. 
On July 13, 1985, Freddie Mercury of Queen takes the stage at the Live Aid rock festival held in London, England. Reuters. 
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Queen’s Brian May Outraged by AI-Generated Image of Freddie Mercury

On July 13, 1985, Freddie Mercury of Queen takes the stage at the Live Aid rock festival held in London, England. Reuters. 
On July 13, 1985, Freddie Mercury of Queen takes the stage at the Live Aid rock festival held in London, England. Reuters. 

Sir Brian May has urged British Prime Minister Andy Burnham to block AI “before it’s too late” after being left outraged by an AI-generated image of his former Queen bandmate Freddie Mercury.

The British guitarist decided to check what Meta AI would create when he asked it what the cover of Queen’s 1980 record The Game looked like, according to The Independent.

He was unimpressed with the result, writing on Instagram: “This is what it gave me ! Good job, eh? So this is the kind of intelligence that will soon be ruling the world??! Well, great. Maybe this is the time to realise WE ACTUALLY DON'T NEED AI !!!”

Highlighting the seriousness of his post, he added: “I believe the price we are about to pay for this 'inevitable' development is way too high. We must not allow these hideous Data Centers to be built in the UK. They will destroy our beautiful country, like they are already destroying beautiful America.”

He also wrote, “Dear Andy – you must stop it now. Before it's too late.”

According to The Independent, May’s post comes as a number of artists speak out both in favor and against AI.

In May, 4 Non Blondes singer Linda Perry told the Press Association that she felt artists should “embrace” AI while picking up the special international award at the 2026 Ivor Novello Awards.

She said: “To me, it’s just another tool that has shown up to make people’s life easier in some way.”

Perry added, “And I said earlier, like microwaves, when microwaves showed up, everybody thought it was the end of making dinner, and mums were just going to throw it in there, and poof, we were going to be in the Jetsons with this powder that turns into a turkey for Thanksgiving, and it’s not.”

“It’s just this is the future, we have to embrace it, because if we try to run from the future, then we’re running from solution,” she also said.

But dance music producer Nia Archives said AI music “won’t last” while speaking at the launch of the Mercury Prize in July.

Archives said: “I don’t know if AI music will last to be honest with you, I think it’s quite like a fleeting technology moment.”

With Queen, Sir Brian had six UK number one singles and 10 UK number one albums. Some of the band’s best-known songs include “Bohemian Rhapsody”, “Killer Queen”, “Crazy Little Thing Called Love” and We Are The Champions.

 

 


Matthew McConaughey on His Sweet Return to the Big Screen

US actor Matthew McConaughey ended a yearslong break from acting with 'The Rivals of Amziah King,' which premiered at the 2025 SXSW film festival. SUZANNE CORDEIRO / AFP
US actor Matthew McConaughey ended a yearslong break from acting with 'The Rivals of Amziah King,' which premiered at the 2025 SXSW film festival. SUZANNE CORDEIRO / AFP
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Matthew McConaughey on His Sweet Return to the Big Screen

US actor Matthew McConaughey ended a yearslong break from acting with 'The Rivals of Amziah King,' which premiered at the 2025 SXSW film festival. SUZANNE CORDEIRO / AFP
US actor Matthew McConaughey ended a yearslong break from acting with 'The Rivals of Amziah King,' which premiered at the 2025 SXSW film festival. SUZANNE CORDEIRO / AFP

Matthew McConaughey had plenty of reasons to select "The Rivals of Amziah King," a honey-themed thriller set in the American Southwest, for his return to the big screen after more than five years away.

"The joy, the soul, the humor, the music, the poetry, the mythology, original time, place, and space," the Oscar-winning actor told AFP when asked why he had chosen the indie film for his comeback.

Written and directed by Andrew Patterson, "The Rivals of Amziah King" follows McConaughey's charismatic local honey producer, who splits his time between tending his beehives and playing the banjo in a folk band of friends and neighbors.

"I knew these people. I liked the way they loved each other. I liked the way they fought with each other, I liked the way they cared. I liked the way they use music and humor to survive," the 56-year-old Texan said.

"Amziah is a guy who really, at the heart of himself, gives people belonging, helps people belong, and that's part of the thing.

"This wasn't the reason I did it, but in hindsight, I go: 'That's a nice thing to put out there into the world, and share with people.'"

- 'Strong Indigenous woman' -

McConaughey stepped away from movies after Guy Ritchie's 2019 dark comedy "The Gentlemen," turning his focus to writing his memoir "Greenlights."

Although movie-goers saw him last year in "The Lost Bus," that was filmed after "The Rivals of Amziah King" wrapped.

The Southwestern US tale, which draws on genres like crime, comedy, musical, and drama, sees King's life take on a new purpose when he reconnects with Kateri -- played by Angelina LookingGlass -- a young Native American woman he had first taken in years earlier with his late wife.

With life lessons learned among the bees, communal dinners, and music, King not only helps her gradually integrate into the community, but also passes on his leadership role to her.

However, the young woman soon learns that the world of honey isn't as sweet as it seems.

For LookingGlass, the role was a perfect fit.

"I really loved playing her," the 22-year-old told AFP.

"A lot of people would underestimate her just by looking at her. You know, they wouldn't expect the things that she does.

"Her being this really strong Indigenous woman, and this person that goes under the radar, but then like bites at the end."

That sting was very intentional on the part of Andrew Patterson, who developed the project after his acclaimed debut film, "The Vast of Night" (2019).

Patterson wanted to center the film around a Native American woman who stops at nothing, he told AFP.

"She just uses her intellect and resourcefulness. And I was excited to put that kind of character into the world. That was that was quite literally the germ of an idea that made me want to go, and then eventually the Amziah character came after that," Patterson explained.

McConaughey wasn't initially in his plans, said the indie filmmaker, who also added Kurt Russell to his cast.

"I was just a guy in Oklahoma writing scripts, making little movies. It had nothing. There was no way that this had any chance to get in front of him.

"And over a number of years, and people getting behind my career, and you know, I think in spirit, Matthew and I were on a collision course for each other. There was no way of knowing that it would happen."

Patterson said he was "grateful" to have a movie that will open in US theaters Friday and delighted that it was with such a stellar talent.

I'm "humbled that I'm getting to put Matthew back in cinema after six and a half years," he said.


Movie Review: ‘The End of Oak Street’ Is a Gonzo Good Time

 This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)
This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)
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Movie Review: ‘The End of Oak Street’ Is a Gonzo Good Time

 This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)
This image released by Warner Bros. Pictures shows Ewan McGregor, left, and Anne Hathaway in a scene from "The End of Oak Street." (Warner Bros. Pictures via AP)

At the end of the block in David Robert Mitchell’s “The End of Oak Street,” is a cul-de-sac with a telephone pole in the middle and wires radiating out like the cables of a big top. It’s a fitting touch for a breakneck, carnivalesque movie made with throwback showmanship.

Summer movies, of course, are not known for lacking in circus-like mayhem. But much of the pastiche delight of the 1980s-set “The End of Oak Street,” a mid-August surprise, is how it absorbs an Amblin-style blockbuster spirit and conjures, without winking irony or belabored homage, a summer thrill ride seemingly designed for the drive-in.

Mitchell’s breakthrough was the nifty 2014 horror “It Follows,” which he followed up with an admirably ambitious but shaggily self-indulgent Los Angeles neo noir, “Under the Silver Lake.” But any indulgences in “The End of Oak Street,” about a 1980s suburban family whose neighborhood is transported through time, are for the audience. “The End of Oak Street” is a bonkers blast.

It’s best going in not knowing anything about the movie’s twists, so tread carefully on the rest of this review. That’s not to say that an enormous amount of “The End of Oak Street” isn’t immediately familiar, starting with the central family.

The Platts live in what looks like a San Fernando Valley neighborhood full of split levels and tidy little streets. Denise (Anne Hathaway) and Greg (Ewan McGregor) have two kids and a dog named Starbuck. Audrey (Maisy Stella) is a teenager and Brian (Christian Convery) is her younger brother.

But from the moment we meet them, during a neighborhood fair, there are obvious cracks in their all-American life. Greg is working a side job delivering pizzas while Denise is secretly typing up a maybe-aspirational novel about a woman dreaming of leaving her family. The kids have their own secrets, too. They suspect their parents are on the cusp of divorcing, and so, seemingly, do Greg and Denise.

Such a framework for sci-fi cataclysm is, naturally, Spielberg 101. But while “The End of Oak Street” is sure to test and restore their familial bonds, Mitchell, who also wrote the script, takes a route that leans more into horror, absurdism and outright silliness.

In any case, yes, there are dinosaurs. It’s both skillful and a lot of fun how Mitchell teases them out. The first signs are mysterious. A flash of light. A strange exotic flower in a neighbor’s backyard. A giant mount of feces in another’s. But soon, the Platts find that their neighborhood is overrun with primordial beasts and surrounded by jungle: Oak Street is suddenly a suburban island in a prehistoric world.

It’s a perfectly “Twilight Zone” plot that inadvertently solves the problems that have plagued the “Jurassic Park” movies for 20 years. If those films have struggled to find an off-island setting, “The End of Oak Street” instead brings the dino isle straight into suburbia. Encounters with raptors and worse transpire across front porches and shag carpets.

You could chalk it all up to good dumb fun. And it is mostly that, with set pieces built to make an audience groan in anticipation or cheer for the successful swing of a sledgehammer. But where “The End of Oak Street” succeeds where so many others fail is in the sincerity it has for its characters. Ridiculous and over-the-top as the concept is, the Platts are firmly grounded. (Hathaway, especially, helps in this department.) The combination of an earnest family drama with CGI hijinks, plus increasingly nutty plotting, make “The End of Oak Street” a fairly nonstop hoot.

Composer Michael Giacchino does his best John Williams impression to match. But Mitchell’s film also increasingly detours from the Spielberg playbook. Only Mitchell would take a moment for a freaked-out Audrey to sneak into the car to pop a cassette in and listen to Steve Winwood’s “Valerie.”

And while it would be pushing it to say there’s that much underneath “The End of Oak Street,” its characters are united in keeping certain things secret out of fear that their spouse or kids or parents can’t handle the truth. The swiftness that the dinosaurs invade their neighborhood could be symbolic of any ecological disaster, but the subsequent challenges prove each member of the family can handle quite a bit more than expected — even when the parental assurance that everything's going to be OK, like when a giant snake is slithering through their home, is laughably disputable.

It adds up to a gonzo good time that gives an old-school family adventure a darker, modern spin. Mitchell has quickly made suburbia his evident domain, where “it,” or something else, is sure to follow.