Playmobil: The Movie

Playmobil: The Movie

Company type	Film
Industry	Entertainment
Founded	June 10, 2019 (2019-06-10)
Founder	Lino DiSalvo (director)
Headquarters	International
Products	Animated adventure comedy film

Playmobil: The Movie is a 2019 hybrid live-action and animated adventure comedy film inspired by the German construction toy Playmobil. This feature film marks the directorial debut of Lino DiSalvo, with a script penned by Blaise Hemingway, Greg Erb, and Jason Oremland. The voice cast includes Anya Taylor-Joy, Jim Gaffigan, Gabriel Bateman, Adam Lambert, Kenan Thompson, Meghan Trainor, and Daniel Radcliffe. The narrative centers on a young girl who ventures into the Playmobil universe to rescue her brother, becoming entangled in a sinister plan orchestrated by Emperor Maximus to control the population.

The movie had its first screening at the Annecy International Animated Film Festival on June 10, 2019. It was subsequently released in France on August 7, followed by the United Kingdom on August 9, and later in the United States on December 6. Critical reception was predominantly negative, with many reviewers dismissing it as an extended commercial. Criticism targeted its plot development, musical segments, character portrayals, tonal inconsistencies, and worldbuilding, often drawing unfavorable comparisons to The Lego Movie (2014). Nevertheless, some commendations were given for its animation quality and voice performances. Financially, it underperformed significantly, earning $16.3 million against an estimated budget ranging from $40 to $75 million. In the U.S., it recorded the lowest opening weekend ever for a film shown in over 2,300 theaters.

Plot

Marla, once carefree and adventurous, has grown cautious and overly protective of her brother Charlie, who has become withdrawn after their parents died in a car accident. One evening, Charlie sneaks out to visit a toy museum featuring a Playmobil exhibit. When Marla confronts him there, a beam of light from a lighthouse transports them into the Playmobil realm.

Upon arrival, Charlie is transformed into a Viking warrior amid a fierce Viking skirmish but is soon captured by pirates. Marla seeks assistance in a nearby settlement and encounters Del, a food truck operator whose customer refuses to pay due to pink hay that causes horses to sprout wings. Offering Viking gold as incentive, Marla persuades Del to join her quest to locate Charlie.

Their journey leads them to Rex Dasher, a secret agent and Del’s former acquaintance, who informs them that several figures have disappeared mysteriously. The group infiltrates a spy agency headquarters to gather intelligence; however, Rex is captured by pirates and taken to Constantinopolis where Emperor Maximus imprisons Charlie and forces captives into deadly combat. Although Charlie manages to escape briefly, he allows himself to be recaptured so others can flee safely.

Del identifies a pirate gadget linked to Glinara, an extraterrestrial crime boss. He bargains with her for information by offering double payment. When their deal falls through, Glinara seizes Marla and Del but they are rescued by her robotic assistant Robotitron who deposits them in a forest. Feeling betrayed by Marla’s deception, Del departs. Lost alongside Robotitron, Marla accidentally collides with a fairy godmother who motivates her and transports her to Constantinopolis.

In the city’s coliseum, Charlie confronts a Tyrannosaurus rex. Marla and Charlie struggle against the creature until Del returns with his food truck and uses his remaining pink hay to calm the beast. Emperor Maximus orders their capture; however, guards reveal themselves as Rex and other missing warriors who then imprison Maximus. After celebrating their triumph, Marla and Charlie use the T-Rex to return through the lighthouse back to reality—where only five minutes have elapsed—and Marla vows to mend their fractured relationship.

Cast

• Anya Taylor-Joy voices Marla Brenner, Charlie's sister, and provides the voice for Marla's Playmobil character. Director Lino DiSalvo commended her vocal performance for its distinctive "texture," describing it as both "authentic and emotionally resonant."
• Gabriel Bateman portrays Charlie Brenner, Marla's brother, and lends his voice to Charlie's Playmobil Viking persona. DiSalvo remarked that Bateman embodied the qualities typical of a child actor chosen by Spielberg.
  • Ryan S. Hill provides the voice for a younger, 6-year-old version of Charlie.
• Jim Gaffigan plays Del, a food truck operator and Marla’s closest companion.
• Daniel Radcliffe takes on the role of Rex Dasher, a covert operative aiding Marla. Radcliffe was drawn to this role due to the enjoyable challenge of depicting a character who is overly self-assured yet unaware.
• Adam Lambert voices Emperor Maximus, the despotic leader of Constantinopolis, characterized humorously as “himself on an exceptionally bad day.”
• Kenan Thompson performs as Bloodbones, a pirate captain role demanding both Broadway-caliber singing and a deep, guttural vocal style.
• Meghan Trainor embodies The Fairy Godmother, fulfilling a childhood aspiration. She also contributed the song "Run Like The River," which director DiSalvo found particularly impressive.
• Lino DiSalvo voices Robotitron, a robot working under Glinara’s command.
• Maddie Taylor gives voice to Glinara, an alien crime boss.
• Kirk Thornton portrays Ook Ook, a caveman character.
• Dan Navarro voices the Viking Leader.
• Cindy Robinson plays Nola, an alien bounty hunter.
• Paloma Michelle is cast as Valera, an Amazonian warrior.
• Additional voices for various characters are provided by Spike Spencer, Benjamin Diskin, Kellen Goff, and Dino Andrade.

Development

In November 2014, it was announced that an animated feature film inspired by Playmobil toys would be produced collaboratively by On Entertainment, Wild Bunch, and Pathé, with an initial target release date set for late 2017.

The project was originally written and directed by Bob Persichetti, who envisioned it as the first installment in a trilogy. Persichetti initially pitched the concept to Sony Pictures Animation, but negotiations did not materialize; he later went on to direct Spider-Man: Into the Spider-Verse. The animation work took place at On Animation’s Canadian studios, with Cross Creek Pictures initially attached for distribution.

By January 2016, producers at ON Animation had secured the rights to the film. On 9 February 2016, Lino DiSalvo was appointed director, replacing Persichetti on this $75 million production. Dimitri Rassam and Aton Soumache from On Animation Studios served as producers.

US distribution rights were acquired by Open Road Films on 12 May 2016. The screenplay was authored by Blaise Hemingway. This film marked DiSalvo’s debut as director after a 17-year tenure at Walt Disney Animation Studios. Additional production credits include Alexis Vonarb and Axel Von Maydell—who had prior involvement with Playmobil interactive games over a decade earlier—as well as Moritz Borman. In June 2017, composer Heitor Pereira joined the project.

By November 2017, Wendi McLendon-Covey had been confirmed among the voice cast. Further production insights were revealed during the June 2018 Annecy International Animated Film Festival. In October 2018, lead voice actors were publicly announced: Anya Taylor-Joy, Gabriel Bateman, Daniel Radcliffe, Jim Gaffigan, Meghan Trainor, and Adam Lambert. Both Trainor and Lambert also contributed original songs featured in the film.

Writing

Following Open Road's acquisition, DiSalvo immediately commenced work on animatics, producing five versions across studios in Los Angeles and Montreal prior to beginning asset creation. The initial 15 months of production were conducted in Los Angeles with a team of ten, which later expanded to 300 personnel in Montreal—approximately half the size typical of a Disney animation crew. Drawing from their longstanding friendship, DiSalvo and Hemingway found inspiration in 1980s cinema such as E.T. the Extra-Terrestrial (1982), striving to capture the enchantment found in everyday experiences.

To authentically represent a child's emotional connection to toys, DiSalvo undertook research by interviewing over 200 Playmobil enthusiasts globally, revealing that imaginative role-playing was fundamental—the player defines the protagonist. This discovery directly influenced the film’s narrative. DiSalvo also revisited his own childhood playthings, while the German Playmobil company supplied every set ever produced to fuel character design; for instance, a food truck and a figure wearing a Hawaiian shirt inspired the character Del.

The original screenplay featured a storybook or narrated fairy tale-style introduction, but these elements were discarded for lacking natural storytelling flow. Instead, live-action scenes bookend the film to juxtapose Marla’s lost childlike viewpoint with the fantastical Playmobil universe, functioning as a narrative trigger.

Animation

Playmobil: The Movie utilized Autodesk Maya for animation under the supervision of Julien Bocabeille alongside a team of 56 animators. Production designer Rémi Salmon emphasized creating a depiction of toys through a child’s imaginative lens rather than strict realism, focusing on wish fulfillment. The primary difficulties involved designing sets and animating characters while maintaining a cohesive style across various Playmobil environments. Although inherently plastic, the toys were permitted approximately 20% deformation in bending and stretching. Facial animation proved challenging due to the 2D facial features mapped onto 3D heads that lacked conventional facial anatomy. leading them to develop a system where 3D-rig-controlled 2D shapes are converted into dynamic textures rendered in real time using shaders without resolution limitations.

The vehicle driven by Dasher is modeled after the Porsche Mission E concept (2015), marking Porsche’s first prominent appearance in film. Additionally, a remote-controlled Mission E toy was released as part of the movie merchandise.

Themes and style

DiSalvo encapsulated the film’s central message as "The only rules that truly matter are those you create yourself." Nick Hasted from The Arts Desk characterized Playmobil as a lighthearted B-movie that merges various genres, exuding an "unassuming good nature" reminiscent of 1980s and 1990s after-school specials. Set across diverse universes, the film playfully exaggerates conventions from western films, fantasy, science fiction, and musicals. DiSalvo differentiated it from The Lego Movie by highlighting its focus on character development and a narrative style rooted in Disney traditions, designed to appeal equally to boys and girls. Producer Tito Ortiz emphasized the film’s exploration of themes such as forgiveness, acceptance, and familial reconciliation.

DiSalvo drew parallels between the movie and Big (1988), noting how the protagonist’s childlike mindset enables success. The sibling-centered fantasy adventure invited comparisons to The Pagemaster (1994), the Jumanji series, and Pleasantville (1998). Its live-action introduction and sibling relationship also evoked elements from The Lego Movie 2: The Second Part (2019). Critics acknowledged its forward-thinking portrayal of gender roles: Hasted commended Marla’s courage in defying stereotypes, while Caroline Siede appreciated its empowering "Be anything you want to be" theme. Charlotte O'Sullivan of the Evening Standard described Marla as a more complex female character than those typically seen. An NBC News review underscored Dasher’s challenges to sexist clichés.

Soundtrack

The track "Run Like the River," performed by Meghan Trainor, was released as a promotional single on 26 July 2019, preceding the full soundtrack album which became available on 2 August 2019.

Release and promotion

Playmobil: The Movie had its world premiere as the opening film at the 2019 Annecy festival in June, where it encountered harsh criticism and audience departures. On 17 June, CineEurope presented a trailer alongside a clip. The initial trailer was unveiled on 16 December 2018, with an original release date set for 16 August 2019. A subsequent trailer released on 23 July 2019 postponed the premiere to 22 November and introduced live-action sequences focusing on Rex Dasher’s quest to rescue Playmobil characters. While critics pointed out that the marketing campaign obscured the true storyline, they acknowledged the high quality of animation.

Early feedback highlighted its appeal toward younger viewers and drew comparisons to The Lego Movie, with cautious optimism despite doubts fueled by underwhelming performances of comparable franchise films. Concerns were voiced about its U.S. release timing amid competition from blockbusters like Jumanji: The Next Level and Star Wars: The Rise of Skywalker. Industry analysts also questioned its commercial viability given Playmobil’s lesser brand prominence compared to LEGO and a lack of major star involvement.

In France, Pathé distributed the film starting 7 August 2019 across 610 screens, while STX Entertainment handled its U.S. release on 6 December 2019. Originally slated for January 2019 in the U.S. via Open Road Films, delays followed due to that distributor's bankruptcy. STX acquired U.S. distribution rights in April 2019, initially targeting an August launch but later shifting it to December amid rumors of financial difficulties—which STX denied. To encourage attendance, theaters were incentivized to offer $5 tickets for all screenings.

Globally, Playmobil rolled out between August and December 2019 across numerous territories including Belgium, the United Kingdom, Mexico, Germany, Spain, South Korea, Australia, among others—demonstrating an extensive international distribution plan. Promotional activities in Australia featured giveaways through Seven Network’s Sunrise program and contests within local media outlets.

Extending the franchise into interactive media, Playmobil: The Movie VR Adventures, a virtual reality game linked to the film, launched on Steam on 4 February 2020.

Box office

Playmobil: The Movie earned $1.1 million across the United States and Canada, with an additional $15.2 million from international markets, culminating in a global total of $16.3 million.

In France, the film launched in 604 theaters, expanding to 683 venues by its third week. It debuted at the fifth position with earnings of $963,910 and accumulated $2.6 million over a seven-week period.

The US release spanned 2,300 theaters but was supported by a modest marketing budget near $3 million. Industry forecasts anticipated an opening weekend gross of around $905,000; however, preview screenings underperformed with $40,000 on December 4 and $230,000 on December 5. STX distributed the movie shortly after Frozen II, minimizing star-driven promotion and foregoing press screenings, which contributed to its disappointing box office results.

The film contended with stiff competition from major titles such as Frozen II, Jumanji: The Next Level, and Star Wars: The Rise of Skywalker, all appealing to overlapping demographic groups. Kevin Grayson, president of STX, explained that releasing in early December aimed to capitalize on a specific play date despite the congested release calendar.

Employing a variable pricing model with tickets priced at $5, Playmobil generated only $167,000 on its first day—ranking as the third-lowest opening for a film shown in over 2,000 theaters—and totaled $660,000 during its opening weekend, marking one of the weakest debuts recorded.

Grayson indicated that STX would adjust its approach to variable pricing based on these outcomes. Although international distributors recovered some costs through television rights and pre-sale agreements, overall losses were reported. Analysts attributed the underwhelming box office performance largely to Playmobil's comparatively limited brand recognition versus rivals like Lego.

Critical response

On Rotten Tomatoes, the movie holds an approval rating based on reviews, with an average score reflecting mixed sentiments. The critical consensus suggests that similar to the toys it promotes, Playmobil: The Movie is perceived as a superficially comparable yet less appealing alternative to competing films. Metacritic assigns it a weighted average of 25 out of 100 from 13 critics, indicating generally unfavorable reviews. Audience feedback via CinemaScore rated it a "B+", while PostTrak reported an average of 1.5 out of 5 stars and a 36% definite recommendation rate; children tended to respond more positively than adults.

The New Zealand outlet Stuff labeled it "a strong contender for the worst film of 2019." Critics largely condemned the film for feeling more like an extended commercial than an engaging narrative, criticizing its lack of originality and depth despite themes promoting courage and adventure. A Rotten Tomatoes editorial described it as "a regrettably mediocre outing," offering little beyond vibrant visuals and a conventional storyline. Entertainment.ie called it "the worst animation of the year so far," highlighting dull plots and unlikable characters. Several reviews underscored a broader trend of poorly executed toy-based films in Hollywood, frequently drawing unfavorable comparisons to The Lego Movie. A review from Variety summarized it as akin to The Lego Movie but missing that blockbuster’s clever wit and inventive visuals.

Nell Minow criticized the film for failing as a commercial piece, noting no compelling incentive to engage with the toys; she described the environments and figures as "bland and generic." Reviewers found the story overly cautious for a narrative centered on imagination, relying heavily on nostalgia and familiar tropes. The Observer accused it of shamelessly borrowing plot elements from Thor and Jumanji, loosely connected by musical numbers and an adventure-themed mantra.

Multiple critics pointed out inconsistencies in worldbuilding, such as unrealistic blends of historical and fictional settings, overly lifelike textures, and character movements that contradicted Playmobil’s typical toy design. For instance, characters suddenly displayed human-like joint articulation despite earlier scenes establishing limited mobility. Some reviewers felt themed kingdoms appeared chosen primarily for toy marketing rather than narrative significance. The live-action segments also drew criticism for stiff direction and an outdated atmosphere.

Salt Lake City Weekly dismissed the film’s concepts as random and lacking intelligence despite their potential humor on paper. The storytelling was described as erratic with abrupt tonal shifts, including sudden parental deaths serving merely as plot devices. The A.V. Club criticized its fragmented plot and simplistic humor, calling it poorly conceived throughout. According to a review in Radio Times, the rapid pace hindered memorable storytelling; sight gags were notably absent, while inclusion of parental death was considered too grim for children’s content. Emotional moments came across as heavy-handed, and songs were mostly regarded as forgettable or generic; however, some praised Taylor-Joy’s vocal performance during the opening number.

Despite widespread negative feedback, certain reviewers appreciated its modest and sincere writing compared to typical crude children’s fare. Parts of the film were recognized as enjoyable, providing opportunities for talented actors to explore unexpected themes. Voice performances—particularly Daniel Radcliffe's—and the campy villain Emperor Maximus received commendation alongside Taylor-Joy’s portrayal.

Sandie Angulo Chen from Common Sense Media awarded it two out of five stars, describing it as bland and unoriginal but potentially entertaining for very young audiences.

Home media

Playmobil: The Movie became available on Blu-ray in the United Kingdom on 2 December 2019, followed by France on 7 December 2019, Germany on 27 December 2019, Australia on 25 March 2020, and Canada on 30 June 2020. The DVD format was released in the United Kingdom also on 2 December 2019 and later in the United States on 3 March 2020. Digital distribution took place in France on 7 December 2019, Denmark on 6 January 2020, and the United States on 3 March 2020.