Now here is a reboot to cheer for. The Muppets heralds the return of Jim Henson’s beloved furry creations resurrected from pop-culture irrelevance and lovingly restored to their former greatness in a vibrant comedy-musical.
Jason Segel in addition to co-writing and starring in the film served as executive producer and the project's resident evangelist. His choice of collaborators is inspired. Directing is James Bobin best known as the co-creator along with Bret McKenzie and Jemaine Clement of HBO’s Flight of the Conchords a show whose good-natured and yet slyly irreverent tone often recalled that of old Muppet Show episodes. (I’ve never quite recovered from its premature departure.) McKenzie served as music supervisor contributing several original songs to the soundtrack. Segel’s co-star Amy Adams is the rare breed of actress who can transition from playing a pugilistic potty-mouthed waitress (in The Fighter) to the role of an angelic schoolteacher with ease. And few actors portray cartoonish villainy with more verve than Oscar winner Chris Cooper.
The film opens with a montage introducing the character of Walter a Muppet raised in Smalltown USA who figures himself the first and only of his kind until he happens upon an old Muppet Show rerun after which he is inexorably transfixed. Together with his “brother ” Gary (Segel) and Gary’s fiancé Mary (Adams) he travels out to Los Angeles to meet his idols only to find their studio vacated and on the verge of being demolished by Tex Richman (Cooper) a sinister tycoon who covets the oil reserves beneath it.
The only way to save the studio naturally is a kick-ass variety show reuniting the Muppets long estranged after the demise of their television series. Kermit the Frog is now holed up in a sprawling Bel Air mansion which he once dreamed of sharing with his former flame Miss Piggy who has gone on to become Vogue’s “plus-size” editor in Paris. Consummate entertainer Fozzy Bear is slumming it in Reno with a tribute band dubbed the Moopets; Gonzo is consumed by his work as CEO of the plumbing company Gonzo’s Royal Flush; and Animal is seeking treatment at the Fresh Pathways anger management clinic.
Segel and company’s affection for the original Muppets property is clear so much so that some viewers may dismiss the film as a tedious exercise in nostalgia. Pay them no heed. Kermit and the crew are as fresh and funny as they were three decades ago and their anarchic brand of humor with young and old alike. The film suffers from an over-emphasis on its human characters (Gonzo’s miniscule screen time is particularly baffling) and McKenzie’s songwriting while more than adequate yields no memorable standouts in the vein of “Rainbow Connection” or “Mah Na Mah Na ” but these are minor quibbles. Only cynical curmudgeons like Statler and Waldorf would waste time finding fault with an experience this joyous.
September 16, 2005 5:05am EST
The socially inept Elizabeth Masterson (Reese Witherspoon) is a workaholic doctor who never leaves the hospital. Her married sister Abby (Dina Waters) tries in vain to set up with a good man to no avail. But fate is about to intervene. On her way home from a long shift Elizabeth gets into a head-on collision with a semi-truck and suddenly the lines between life and death are blurred. Jumping forward we meet David Abbott (Mark Ruffalo) a guy wallowing in self-pity from the death of his wife two years earlier who to find some solitude moves into a fabulous furnished apartment. What he doesn't know is the previous tenant hasn't left not really. That's right it was Elizabeth's apartment and for whatever reason (seriously they don't entirely explain it) Elizabeth--or her spirit I guess--hasn't grasped the idea that she is in well limbo. Only David can see her of course as she yells at him for leaving sweat rings on the coffee table but Elizabeth eventually grows on him. She elicits his help in finding out what happened to her and with a little help from the eccentric Darryl (Jon Heder) a bookstore employee who has the gift for sensing spirits David and Elizabeth find that heaven and earth are not really that far apart.
As our romantic pair Witherspoon and Ruffalo do an adequate job adhering to the staid romantic comedy formula. Witherspoon is one of the more consistent comedic actresses these days and has the sweet but controlling ingénue routine down to a science. But it may be time for her to take a break from the standard fare and head back to the indies getting down and dirty like she did in Election. Ruffalo does a pretty impressive job for his second time as the romantic lead. As he did with 13 Going on 30 Ruffalo at least tries to add some quirky twists to a boring character. Still he should also probably stick to showcasing his dramatic acting talent in cool indies much like he did in You Can Count on Me. It's Heaven's side characters who have all the fun. Waters (The Haunted Mansion) does a nice turn as the caring sister who's own hectic life as a mother of two rambunctious kids always seems to interfere with what she's doing. Donal Logue (TV's Grounded For Life) as David's therapist best friend too has a fun time yuking it up. But the real standout in an otherwise dull universe is Napoleon Dynamite himself Jon Heder in his second feature film. He's still a geek but at least this time he's a mystical one who knows a thing or two about wandering spirits. Of course he also gets the best lines: "I'm 99.9 percent parched here. I need a cola." I'm going to use that one from now on.
As the director of the satirical Mean Girls and the cutesy Freaky Friday Mark Waters may be out of his element with an out and out romantic comedy. The initial idea about a women whose stuck in the spirit world until she finds the true love she never sought after in life is somewhat intriguing. But rather than play with that the film just ends up your standard romantic comedy while also stealing from other films such as Ghost and The Sixth Sense. Just Like Heaven also has some serious logistical flaws. For example seeing how Elizabeth is supposed to be a ghost--that she can't touch anything tangible and can walk through walls tables and just about anything else--she is later seen laying on top of a table. It doesn't make sense as to how she can walk through it at one moment and be on it the next. And the fact you are paying attention to these inconsistencies means you just aren't caring that much about the rest of the film.