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.



Movie Review: 'Eddington' Is a Satire About Our Broken Brains That Might Re-Break Your Brain

 This image released by A24 shows Joaquin Phoenix, left, and Pedro Pascal in a scene from "Eddington." (A24 via AP)
This image released by A24 shows Joaquin Phoenix, left, and Pedro Pascal in a scene from "Eddington." (A24 via AP)
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Movie Review: 'Eddington' Is a Satire About Our Broken Brains That Might Re-Break Your Brain

 This image released by A24 shows Joaquin Phoenix, left, and Pedro Pascal in a scene from "Eddington." (A24 via AP)
This image released by A24 shows Joaquin Phoenix, left, and Pedro Pascal in a scene from "Eddington." (A24 via AP)

You might need to lie down for a bit after "Eddington." Preferably in a dark room with no screens and no talking. "Eddington," Ari Aster's latest nightmare vision, is sure to divide but there is one thing I think everyone will be able to agree on: It is an experience that will leave you asking "WHAT?" The movie opens on the aggravated ramblings of an unhoused man and doesn't get much more coherent from there. Approach with caution.

We talk a lot about movies as an escape from the stresses of the world. "Eddington," in which a small, fictional town in New Mexico becomes a microcosm of life in the misinformation age, and more specifically during the pandemic and the Black Lives Matter protests, is very much the opposite of that. It is an anti-escapist symphony of masking debates, conspiracy theories, YouTube prophets, TikTok trends and third-rail topics in which no side is spared. Most everyone looks insane and ridiculous by the end, from the white teenage girl (Amélie Hoeferle) telling a Black cop (Michael Ward) to join the movement, to the grammatical errors of the truthers, as the town spirals into chaos and gruesome violence.

Joaquin Phoenix plays the town sheriff, a soft-spoken wife guy named Joe Cross, who we meet out in the desert one night watching YouTube videos about how to convince your wife to have a baby. He's interrupted by cops from the neighboring town, who demand he put on a mask since he's technically crossed the border.

It is May 2020, and everyone is a little on edge. Joe, frustrated by the hysterical commitment to mandates from nowhere, finds himself the unofficial spokesperson for the right to go unmasked. He pits himself against the slick local mayor Ted Garcia (Pedro Pascal), who is up for reelection, in the pocket of big tech and ready to exploit his single fatherhood for political gain. At home, Joe's mother-in-law Dawn (Deirdre O'Connell) spends all day consuming internet conspiracy theories, while his wife Louise (a criminally underused Emma Stone) works on crafts and nurses unspoken traumas.

Joe's eagerness to take on Ted isn't just about masking. Years ago, Ted dated his now-wife, a story that will be twisted into rape and grooming accusations. Caricatures and stereotypes are everywhere in "Eddington," but in this world it feels like the women are especially underwritten - they are kooks, victims, zealots and the ones who push fragile men to the brink. But in "Eddington," all the conspiracies are real and ordinary people are all susceptible to the madness.

In fact, insanity is just an inevitability no matter how well-intentioned one starts out, whether that's the woke-curious teen rattled by rejection, or the loyal deputy Guy (Luke Grimes) who is suddenly more than happy to accuse a colleague of murder. Louise will also be swayed by a floppy-haired internet guru, a cult-like leader played with perfect swagger by Austin Butler.

The problem with an anarchic satire like "Eddington," in theaters Friday, is that any criticism could easily be dismissed with a "that's the point" counterargument. And yet there is very little to be learned in this silo of provocations that, like all Aster movies, escalates until the movie is over.

There are moments of humor and wit, too, as well as expertly built tension and release. "Eddington" is not incompetently done or unwatchable (the cast and the director kind of guarantee that); it just doesn't feel a whole of anything other than a cinematic expression of broken brains.

Five years after we just went through (at least a lot of) this, "Eddington" somehow seems both too late and too soon, especially when it offers so little wisdom or insight beyond a vision of hopelessness. I wonder what world Aster thought he'd be releasing this film into. Maybe one that was better, not cosmically worse.

It's possible "Eddington" will age well. Perhaps it's the kind of movie that future Gen Alpha cinephiles will point to as being ahead of its time, a work that was woefully misunderstood by head-in-the-sand critics who didn't see that it was 2025's answer to the prescient paranoia cinema of the 1970s.

Not to sound like the studio boss in "Sullivan's Travels," trying to get the filmmaker with big issues on the mind to make a dumb comedy, but right now, "Eddington" feels like the last thing any of us need.