The Muppets (2011)
by Steve Habrat
I’m going to remember 2011 as the year that retro dominated at the movies. We have seen multiple releases throughout the year that have embraced a throwback aesthetic, ones that were evocative and nostalgic. They were all quite good too. We’ve had the candy-colored madcap The Green Hornet, 80’s horror nod Insidious, the Goonies/E.T. mash up Super 8, the dreamy pulp and Raider’s of the Lost Ark tribute Captain America, the ultra violent 80’s crime/actioner Drive, the arty silent film wonder The Artist, and we will soon see another Raider’s valentine when The Adventures of Tintin hits theaters. Many have been direct nods to the heyday of special effects and when escapism really dominated. In the late 70’s, Jim Henson’s Muppets took over television and went on to rally a group of loyal fans that have supported them through the years. After a long hiatus and being largely forgotten by pop culture, gargantuan funny guy Jason Segel, who is also said to be a huge fan of the felt critters, penned a fresh new screenplay along with Nicholas Stoller, wrangled director James Bobin and together they have delivered a winning piece of family entertainment that attempts to rally a new generation of fans while also making the adults who so enthusiastically watched their sketch-comedy mischief way back when inebriated with nostalgia of their youth. The Muppets is retro without being retro. It’s hilariously self-aware and willing to crack jokes on their absence. This world isn’t meant for the optimistic band of creatures ranging from the ringleader Kermit the Frog all the way to Sam the Eagle. And trust me, every Muppet you can think of pops up at least once. The movie almost isn’t big enough to contain them all. The best part of all of this is that The Muppets keeps things unadorned, making it even easier to love them.
The Muppets kicks off with the knee-slapping introduction of their newest member, Walter, a happy-go-lucky little puppet that is best buddies with his human brother Gary. The young Gary and Walter live in the perfect community of Smalltown, USA, and they both sit in their matching stripped pajamas and grin over The Muppet Show. Walter becomes a massive fan of Kermit and company, and as life gets tougher for the little Walter, he finds comfort in The Muppet Show. The film speeds forward to present day where the adult Gary (Played by Jason Segel) and Walter still live in Smalltown and are now shacking up together. They are still best buds and still do everything together, even hilarious musical numbers. We also learn that Gary is dating Mary (Played by Amy Adams) and they have been together for ten years. Gary plans a trip to Los Angles in celebration of their anniversary and he invites Walter to tag along to see the Muppet Theater. Mary is less than enthused but she understands how important Walter is to Gary and Gary to Walter. Once they arrive to Los Angles, Walter discovers that the world has left the Muppets behind and moved on. Their theater and studio lie in ruin and there is a plot by an evil oilman named Tex Richman (Played by Chris Cooper) to destroy what is left of their studios in an attempt to drill for oil. Horrified, Walter pleas with Gary and Mary to help him reunite the Muppet gang and help save the Muppet Theater.
It’s easy for us to wave off The Muppets and call it square. It features quirky puppets rather than fancy CGI creatures and, yes, it does seem a bit dated. It’s also heavy with musical numbers, which is also the furthest thing from hip. Yet that is what makes this film so irresistible. It’s simple and old fashioned, with a whole slew of cameos from big Hollywood names. Get ready to double over when Modern Family’s Rico Rodriguez shows up and inquisitively asks Kermit if he’s one of the Ninja Turtles. Wait until you see Kermit’s reaction. Oh, and Neil Patrick Harris turns up too to deliver a real zinger. Truth be told, I’ve always been intrigued by the Muppets and how they convey so much emotion. When Kermit is sad, we can see it in his plastic peepers. It does fill you with a sense of wonder. It helps that the puppet work is punctilious and detailed. And yet this film is content with being square and a bit dated. In fact it is delighted by the very implication of it. It gives it fuel to crack joke after joke and believe me, the jokes come fast and furious. It’s a nice balance to Pixar’s films and the bizarre offerings like Alvin and the Chipmunks, where real actors interact with annoying CGI animals (Hollywood is forcing the annoying Chipmunks on audiences AGAIN! They showed the trailer before this film. I guess with every good thing, there has to be a bad.). With The Muppets, at least there is something palpable for the actors to work with.
The actors here all do a fine job playing old fashioned. Segel brings a gee-whiz energy with him and he really seems to be genuinely in awe at what is going on around him. It helps that he has a heart for this sort of thing. Adams steals the shows as Mary, as she just radiates girl-next-door charm. She looks like she stepped out of the 1950’s. Parks and Recreation’s Rashida Jones turns up as a straight-shooting television executive named Veronica who, in the words of Fozzie Bear, could shoot “a little more curvy”. Cooper’s oilman Tex Richman also provides some big laughs, especially his love of maniacal laughter. He also steals the show with a musical number so bold, I didn’t laugh until after it ended and I could register what had just happened.
The Muppets does have a handful of flaws that knocks it down a letter grade. The director handles some of that cameos carelessly, some are so brief; blink and you may miss them. There are some that shine (Emily Blunt turns up in a nod to The Devil Wears Prada) and some that should have been developed better (Sarah Silverman’s wasted potential as a diner hostess). Some of the Muppets themselves could have used a bit more screen time, but the film desperately tries to fit every single one of them into the film that it is almost overload. I was left wishing for more of daredevil Gonzo and Sam the Eagle. Walter ends up getting lost in the shuffle for about a half hour and it’s a shame because you really do fall in love with him. Every once and a while, it feels slightly unfocused, like a bunch of kids in a candy store.
Despite some minor hiccups, this is one of the best family films of the year. One that is not like Chinese water torture for adults and delivers slapstick laughs for children. I applaud Segel for making retro old-fashioned feel new again and I would gladly go back to the theater to experience all of this again. The film succeeds as a musical, with several numbers that really pop, the best one being shared by Mary and Miss Piggy. The Muppets finds itself on the retro list of 2011, one of the films where everything just clicks and it takes you back. Two of the people I saw it with were fans of the show when it was on and it left them beaming. My generation missed Kermit and Miss Piggy, but it still had me in a good mood after we left the theater. This film isn’t rocket science, but then again, it doesn’t need to be. It left me feeling all warm and felty inside. Who can argue with that?!
Posted on November 28, 2011, in REViEW and tagged 1970's, 1980s, 2011, amy adams, captain america, chris cooper, comedy, drive, E.T., emily blunt, gonzo, insidious, james bobin, jason segel, jim henson, kermit the frog, miss piggy, modern family, musicals, neil patrick harris, nicholas stoller, parks and recreation, raiders of the lost ark, rashida jones, retro films, rico rodriguez, sam the eagle, sarah silverman, super 8, the adventures of tintin, the artist, the devil wears prada, the goonies, the green hornet, the muppet show, the muppets. Bookmark the permalink. 2 Comments.