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.



‘Kraven the Hunter’ Flops while ‘Moana 2’ Tops Box Office Again

This image released by Disney shows the character Moana, voiced by Auli'i Cravalho, in a scene from "Moana 2." (Disney via AP)
This image released by Disney shows the character Moana, voiced by Auli'i Cravalho, in a scene from "Moana 2." (Disney via AP)
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‘Kraven the Hunter’ Flops while ‘Moana 2’ Tops Box Office Again

This image released by Disney shows the character Moana, voiced by Auli'i Cravalho, in a scene from "Moana 2." (Disney via AP)
This image released by Disney shows the character Moana, voiced by Auli'i Cravalho, in a scene from "Moana 2." (Disney via AP)

The Spider-Man spinoff “Kraven the Hunter” got off to a disastrous start in North American theaters this weekend.
The movie starring Aaron Taylor-Johnson earned only $11 million, according to studio estimates Sunday, making it one of the worst openings for a Marvel-adjacent property. Its box office take was even less than the film “Madame Web,” The Associated Press reported.
The weekend's other major studio release was Warner Bros.’ animated “The Lord of the Rings: The War of the Rohirrim,” which made $4.6 million. Made for about $30 million, the movie is set 183 years before the events of “The Lord of the Rings” films and was fast-tracked to ensure New Line did not lose the rights to Tolkien’s novels. Peter Jackson, Fran Walsh and Philippa Boyens have been working on future live-action films for the franchise.
Meanwhile, the top of the charts again belonged to “Moana 2" and “Wicked.”
“Moana” added $26.6 million to its domestic total in its third weekend and $57.2 million internationally, bringing its global tally to $717 million. It's now the fourth highest grossing film of the year, surpassing “Dune: Part Two."
“Wicked,” which is in its fourth weekend, brought in another $22.5 million to take second place. The Universal musical has made over $359 million domestically and over $500 million worldwide.
“Gladiator II” also made $7.8 million, bringing its domestic total to $145.9 million in four weeks.
“Kraven the Hunter” is the latest misfire from Sony in its attempt to mine the Spider-Man universe for spin-off franchises without the lucrative web slinger himself. “Kraven” joins “Madame Web” and “Morbius” in franchise additions that fell flat with both audiences and critics. The one exception on this rollercoaster journey has been the “Venom” trilogy, which has made over $1.8 billion worldwide.
The R-rated “Kraven the Hunter” was directed by J.C. Chandor and faced a number of delays, partly due to the Hollywood strikes. It was shot nearly three years ago and originally slated to hit theaters in January 2023. The film cost a reported $110 million to produce and was co-financed by TSG. Internationally, it made $15 million, but its potential for longevity appears limited: It currently carries a 15% “fresh” rating on Rotten Tomatoes and got a C grade on CinemaScore from opening weekend audiences.
“It’s not always a guarantee that you’ll be able to connect with audiences when you have a spinoff character," said Paul Dergarabedian, the senior media analyst for Comscore. “General audiences seem to want to know exactly what they’re getting.”
Several awards contenders opened in limited release over the weekend, including Paramount’s “September 5” about ABC's coverage of the Munich Olympics hostage crisis. Amazon MGM and Orion's “Nickel Boys,” based on Colson Whitehead’s Pulitzer-winner about an abusive reform school in Florida, opened in two theaters in New York. It averaged $30,422 per screen and will be expanding to Los Angeles before going nationwide in the coming weeks.
The box office has seen a dramatic recovery since June, when it was down nearly 28% from the previous year. The deficit now stands at 4.8%.
Final domestic figures will be released Monday.