I have already seen a number of truly great films this year,
and there are several I am really excited to see in the coming months
(Godzilla, Interstellar, Hobbit part 3, Calvary, X-Men and Fury to name but a
few). However I’m not convinced I will leave any film this year, happier than I
felt at the end of The Muppets Most Wanted.
I’ve always loved The Muppets, their version of Treasure
Island was one of my most watched videos growing up. Before my long hiatus from
this blog, my final post was a review of the 2011 film, starring Jason Segel
and Amy Adams, that brought The Muppets back into the public eye. I went into
this sequel already braced to be disappointed, deliberately lowering my
expectations.
I was in hindsight wise to do this, as the film doesn’t
quite live up to the standards of the first, but is still a fantastically
enjoyable 90 minutes, filled with exactly the kind of anarchic plot, genius
cameos and lovable characters that you would hope for from a film involving
Kermit and co.
In a masterstroke the film picks up right where the first
one ended, with the muppets on the street outside the theatre and launches into
probably the strongest musical number of the whole film, irreverent and
self-deprecating. It sums up one of the things that I’ve always loved about the
muppets; they were meta before it was cool, existing in some bizarre fourth
wall-less reality where logic and physics can be abandoned at will if it
furthers the plot.
The first film succeeded because it combined four factors to
great effect; music by Brett McKenzie, entertaining cameos, a fairly
straight-forward plot and shed-loads of heart. On the first two counts this
film delivers, with a prison number delivered by Tina Fey, backed by a bizarre
combination of familiar faces, standing out as a superbly surreal highlight of
both elements.
Where it falls down is the story. I must concede that for
almost any non-muppets film, I’d be implying a much stronger criticism with
that comment. As it is I accept that plot has always been a secondary concern
behind having fun with whatever concept they’ve chosen to shape the film. The film
has a lot of fun with the genre of the police investigation, Ty Burrell (Modern
Family’s Phil Dunphy, enjoying himself as a Clouseau-esque Interpol agent) and
Sam the Eagle making for a great parody on the buddy cop format. However the
heists that are central to the story are underwhelming, each feeling like a
missed opportunity.
The plot revolves around a master criminal who looks almost
identical to Kermit pulling off heists, using the Muppets as an alibi, but too
many of the scenes progressing that central storyline fall flat, feeling like
fillers between the scenes involving the real Kermit.
Even that though would be OK if the heart that drove the
first film was there but it isn’t. It aims for a message about the importance
of friendship but that’s something the first film explored more effectively.
There’s another element that I will talk about below in the spoiler section
(yes I treat The Muppets seriously enough to merit a spoiler section).
For the spoiler free section, I will end this review with
the conclusion that while it is not quite as triumphant a success as the 2011
effort, it is a respectable entrant into the Muppet back-catalogue and filled
me with a level of child-like enjoyment that is all too rare in the majority of
my visits to the cinema. If you have kids take them to see it (lord knows it’s
a better option than the awful looking Postman Pat film coming out soon).
However If you’re looking for a child friendly film from the
first half of this year I have to recommend the
Lego Movie ahead of this, because it is at least as fun as Most Wanted
but has a more compelling message, delivered with greater confidence and style.
Spoilers below this point.
One of my very slight issues with this film, and I fully
acknowledge that it is perhaps an unrealistic criticism of a kids film, is that
it suggests a more interesting moral message then fails to deliver.
As mentioned earlier, the film revolves around the idea of
Kermit having an almost identical twin who is a master criminal named Constantine.
While Kermit ends up thrown in a Siberian Gulag, Constantine (with the help of
Ricky Gervais’ Dominic Badguy) uses the Muppets to stage a series of art heists
designed to lead to stealing the British crown jewels. The rest of the Muppets
blindly follow Constantine’s leadership, accepting he is Kermit despite the
evidence to the contrary.
For a large chunk of the film we are presented with the
dangers of unquestioningly following a charismatic leader. Sadly the finale only suggests that as long
as you’re following the “right” person, you’ll be fine. Kermit’s return and
exposure of the imposter is entertainingly done, but instead of leading to some
questioning of doing exactly what they’re told, the Muppets just pass the
mistake off with a collective ‘oops’ and commit to following Kermit, even if
that is to a Siberian gulag.
Themes of family and togetherness have always been central
to The Muppets appeal and rightly so. However the first film conveyed that
message so much more effectively, whereas ending with this seems a bit of a cop
out here.
I can imagine many of my readers arguing that I’m reading
far too much into a Muppets film, but I feel they failed to follow through on a
plot they chose to set up. We live in a world where Pixar & Disney have
changed what we can expect from a “kids” film, but this film in the end fails
to commit to any particular message. There’s a vague affirmation of the values
of friendship and loyalty, but by establishing how easily a look-alike can
trigger loyalty, that value is called into question by the film itself and
never really answered.
The 2011 Muppets film had a clear message about the value of
belonging and identity, but this effort, while fun throughout, suffers for
having a much vaguer sense of what message it hopes to convey.
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