The Muppet Christmas Carol was also the first theatrical release during The Muppets’ troubled partnership with Disney. Despite Disney’s lacklustre legacy since their full takeover of The Muppets brand in 2004, A Christmas Carol enjoys a unique place in the Muppets chronology, benefitting from that sweet House of Mouse money yet enjoying more creative control. This concoction of incredible production value from Disney alongside the imaginative and creative prowess of The Jim Henson Company was the perfect storm. As such, The Muppet Christmas Carol is a chart-topping showstopper, considered by many to be the best of all Christmas films.

In this Movie List from The Film Magazine, all of The Muppet Christmas Carol has been put under the microscope and evaluated. Having explored each individual moment to see why this particular Muppets movie has become such a special festive favourite over the last 30 years, we have compiled a list of the most fun, emotionally resonant, powerful and beloved bits, for these: the 10 Best The Muppet Christmas Carol Moments.

Follow @thefilmagazine on X (Twitter).

10. Christmas Scat

By 1992, the technological innovation of the Jim Henson Company had come a long way since Jim himself had cut up his mother’s dressing gown to make his first sock puppet. The Muppet Christmas Carol is distinct from the previous cinematic releases of the Muppets as the direction took a bold step from camera angles akin to ‘The Sooty Show’, finally having the CG technology available to erase away pesky visible puppeteers. No more shots exclusively from the waist up! Thus, far more dynamic and exciting shots were finally achieved to truly fool us that the Muppets can inhabit our human world.

This technological innovation reaches its peak in this single scene of Bob Cratchit and Tiny Tim returning home from church whilst singing to each other. It’s hard to believe that this cute little scene was the most challenging to film, but the efforts in creating a free standing and dancing puppet will convince children that Kermit the Frog is just as real as Santa Claus.

Recommended for you: ‘The Muppet Christmas Carol’ at 30 – Review

9. One More Sleep ’til Christmas

For those who share in the tradition of watching The Muppets Christmas Carol on Christmas Eve, it is very likely due to this single song. Nothing is guaranteed to get young children as hyped and excited for Father Christmas’ imminent arrival as much Kermit the Frog does. After our first introduction to Michael Caine’s frankly terrifying Scrooge, no wonder his book-keeping staff are overjoyed by the prospect of having a day off.

This moment doesn’t just capture the excitement of the season, but also the solemnity. As Kermit sings the final notes of “One More Sleep ’til Christmas”, staring into the distance as a shooting star streaks by, a tangible melancholy fills the screen. The anxieties and hopes of the season come to a fruition for this single moment; will peace finally reign this Christmas? The whole mood is made more palpable knowing that Kermit’s performer Steve Whitmire was full of anxiety, filling his beloved mentor’s boots in the first feature film since his passing. Kermit’s pensive moment is as if a reassurance that Henson’s legacy is in safe hands.

The Muppet Christmas Carol (1992)
Director: Brian Henson
Screenwriter: Jerry Juhl
Starring: Michael Caine, Dave Goelz, Steve Whitmire, Jerry Nelson, Frank Oz, Steven Mackintosh, Meredith Braun, Robin Weaver, Raymond Coulthard

Even on its 30th birthday there remains a melancholic touch to the opening moments of The Muppet Christmas Carol. Its immediate dedication to Muppets creator Jim Henson and fellow performer Richard Hunt (the voice behind Scooter), each of whom had died before the film’s production in the January of 1992, has grown more bittersweet over the years in lieu of Disney’s complete takeover of the Muppets franchise (even owning the rights to the word “Muppet”). In witnessing these dedications in the current era, it is difficult to not think of the words of Jim Henson’s close friend and long-time collaborator Frank Oz, who in an interview with Hadley Freeman of The Guardian in 2021, said: “The Disney deal is probably what killed Jim. It made him sick.”

Disney only gained full ownership of The Muppets in 2004, but they had pursued the frog and pig show since the late 80s: according to Oz, Jim had expressed interest in selling the company so that he could focus more on creation as opposed to running a business. However, in getting into talks with Disney’s head at the time, Michael Eisner, a Pandora’s Box of greed swung open, with Disney’s intent being to buy ‘Sesame Street’, which Henson was vehemently against. Jim Henson died suddenly in 1990, not soon after the beginning of these talks. The cause: toxic shock syndrome from a streptococcal infection.

‘Sesame Street’ remains out of Disney’s grasp to this day (though it has sadly been messed around with by the HBO and Warner Bros. merger), but Disney has indeed massively benefitted from its Muppet purchase with their massive backlog of movies, TV specials and numerous episodes of ‘The Muppet Show’ fleshing out their Disney+ streaming service library. Of course, since its purchase, Disney have helmed their own Muppet productions with one of their latest series ‘Muppets Now’ being lauded as the Muppets renaissance; but Oz in the same interview doesn’t pull his punches with regards to this latest output. The original voice behind Fozzie Bear and Miss Piggy hasn’t worked on any Muppet productions since 2007 and believes there is a stark difference between the Henson and Disney era of the Muppets:

“The soul’s not there. The soul is what makes things grow and be funny. ” 

Indeed The Muppet Christmas Carol finds itself in the middle of this claim – it is often revered as the hallmark of Muppet film productions and hasn’t been surpassed critically or in popularity since. Made in the shadow of his father’s passing, Brian Henson was the one in the director’s seat and (in accordance with Frank Oz’s claims) struggled with protecting his vision from the criticism of the Disney overseers. Thus, The Muppet Christmas Carol very much remains in the Henson era camp, and represents the importance of creativity and soul when it comes to creating truly memorable Muppets moments.

As it celebrates the big 3-0, now is the best time to examine how and why The Muppet Christmas Carol remains the perfect Muppet movie.

Charles Dickens’ 1843 novella “A Christmas Carol” is one of the most adapted works of English literature in history. It has featured prominently throughout the entirety of film and television, from the silent short films at the very beginning of Hollywood to a BBC and FX-collaborated mini-series starring Guy Pearce in 2019 and a number of feature releases in the 2020s. It truly is a timeless tale.

Recommended for you: A Christmas Carol Films Ranked

The story of a cruel and miserly money-lender’s reformation and redemption by learning the importance of kindness and generosity during yuletide – via a series of hauntings from the ghosts of Christmas’ past, present and future – has become as integral to telling the true Christmas message as the actual Nativity story. But, as Dickens’ festive tale has become so memorable that any Christmas lover could tell it as easily as describing the back of their own hand, how does one make a truly unique re-telling?

Frankly, the whole production of The Muppet Christmas Carol is nothing short of genius; the very idea of using Muppets to tell one of the greatest fables of all time is beautifully subversive. The creative team’s self-awareness of the Muppets’ association with goofy fun made the shattering of expectations of an asinine re-telling that much more brilliant. Of course, every opportunity to make a gag is taken and, despite this laugh-a-minute approach, the authenticity of the production team’s handling of the source material means The Muppet Christmas Carol certifies itself as one of the most evocative and dark film adaptions of them all. Consequentially, children are never pandered to but instead thrilled, leading them to be enthralled by re-watches as adults.

“Boy, that’s scary stuff! Should we be worried about the kids in the audience?”

“Nah, it’s all right. This is culture!”

The Muppet magic begins instantly as the opening credits present the Muppets themselves credited in the different roles (with Rizzo the Rat as Himself), alongside the correct listings of the human players, such as Michael Caine as Scrooge. This seamless blending of humans and Muppets, in not just the principle characters but also in the numerous extras, succeeds in the creation of a little world ripe to be immersed within. As such, both the zaniness of the Muppets and the seriousness of the humans are normalised, allowing for rapid but not jarring switches in tone.

The film’s MC is Gonzo the Great in the role of Charles Dickens, who is essentially the guide of the story through his narration. This is one of the key features that contributes to this adaption’s distinctiveness (and why it is also lauded as the best version); for by taking the story-teller approach there are no issues with exposition, so no awkward plot backflips are made to address key literary points. It also leads to greater authenticity, as the film is consequentially littered with direct quotes. There is no awkward out-of-time modern dialogue, just the atmospheric narration of one of England’s greatest wordsmiths.

Gonzo and Rizzo’s narration is largely responsible for the changing tone throughout the runtime, providing comic relief amongst the dark themes of the narrative. Unlike many modern children’s movies however, intense emotional moments are not ruined by unnecessary quips or sarcasm. The narrative vehicle complements sorrowful story beats, such as Gonzo comforting an upset Rizzo after witnessing a younger Scrooge lose the love of his life, and at times even completely stands back to let a heavy atmosphere breathe, such as in the sequence with the Ghost of Christmas Yet to Come in which both narrators are completely absent. Conversely, their continuing shenanigans in trailing behind Scrooge during his ghostly journey helps to entertain younger viewers who may not be able to understand the main storyline, thus consolidating its universal appeal.

Gonzo and Rizzo being one of the main sources of the film’s comedy illustrates the intuitive casting of The Muppet Christmas Carol: human and Muppet. This is the first of the Muppets’ feature length movies in which the fuzzy puppets aren’t the narrative focus of the plot; the movie is more akin to ‘The Muppet Show’ in which the Muppets are the talented ensemble supporting the human guest star, and here they are used to their full potential. Many of the beloved Muppet characters have quite a short appearance (as many original puppets were necessary for the telling of this particular story), but they make their impact instantly, i.e Fozzie Bear’s simplistic optimism and Sam Eagle’s austere air (and his continuing American Patriotism even when trapped in a British novella).

Kermit the Frog has not only been the long-time straight man of the gang, but has also been the heart of most of the Muppet productions. The Muppet Christmas Carol is no exception. Here, our little green friend is cast in the role of Bob Cratchit, Ebenezer Scrooge’s underpaid clerk. If the magic of this film is to be summarised by one screen capture, it would be that of Bob Cratchit singing the last few notes of “One More Sleep ’til Christmas” whilst watching a shooting star fly past in the wintry cityscape. It is Kermit as Bob that steers the plot through its most poignant and saddest moments, soothing his family with wisdom relevant to those experiencing grief in real life.

Additionally, it is Kermit as Bob Cratchit who embodies the true meaning of Christmas through his joy. The joy of being able to spend time with his family, to share in their excitement of sharing a simple meal (but one prepared with love), and to feel pride in his children, particularly for their developing kindness and empathy. Even the usually flamboyant Miss Piggy manages to bring an understated tenderness and domesticity to her role as Emily Cratchit, pairing with Kermit in moments of sadness and the joy of family life (although she does manage to fling an insult at Scrooge’s fashion taste). And yet, the most ingenious Muppet casting of the film is Kermit’s nephew Robin as Bob Cratchit’s son, Tiny Tim.

Dickens had the unfortunate habit of making some of his main sympathetic characters absolutely detestable through their unnervingly sweet nature (looking at you “Oliver Twist”), so any depiction of Tiny Tim tends to be in danger of being utterly despicable. Luckily, when your cast is made up mostly of Muppets, nearly all of the characters have some guaranteed charisma, and quite frankly Robin as Tiny Tim is nothing short of adorable, the undisputed cutest performance of all adaptions.

Bob and Tim’s performance in the “Christmas Scat” is endearing, charming and joyful. Even when Tiny Tim leads the family in a song of “Bless Us All”, Robin’s performance avoids a sanctimonious air and is instead convincing as having a genuine love for his family and of those around him (especially as he seconds his father’s choice to name Mr Scrooge the founder of the feast). In what could have been something overly pious, unrelatable and cringe, the music and lyrics are inclusive through a non-denominational approach, with the prayerful intentions heartfelt and simple: the hopes for a happy Christmas and a happy family.

Credit must also be given to The Muppet Christmas Carol for portraying Tiny Tim as actually being sick: this lifts the adaption from clichéd disability inspiration into a fable of the injustice of poverty. Through his journey with The Ghost of Christmas Present, Scrooge is able to witness how his miserly ways and cruelty has a direct impact on the innocent people (and Muppets and creatures) around him. His wilful underpaying of his employees has threatened the health of innocent children and has potentially drastically shortened their life expectancy, and the guilt is etched all over Scrooge’s face. This represents the sincerity of this adaptation – Charles Dickens for all intents and purposes was the 19th Century equivalent of a modern-day social justice warrior who used his talents to channel his outrage over the poverty and mistreatment of the vulnerable throughout his society. In kind, The Muppet Christmas Carol makes every choice to give Dickens’ message as much impact as possible with no waste on dramatics and operatics.

The greatest shred of evidence of the production’s dedication to an authentic re-telling of Dickens’ story is the casting of Sir Michael Caine in the role of Ebenezer Scrooge. Michael Caine has admitted that he’d been dying to be a part of Muppet chaos since ‘The Muppet Show’ first aired in the 70s, which he was sadly never available to guest star on. As soon as he heard that a Muppets version of “A Christmas Carol” was in the works, he had his agent badger the production daily until he was offered an audition. He was duly offered the role that would become the most memorable to Sir Michael Caine himself, and would be the introduction to his incredible career for all generations that have been raised with this movie.

A common frustration with later Muppet features is the way human characters interact with The Muppets, often treating them as novelties or freaks, which can shatter the illusion. The same cannot be said of The Muppet Christmas Carol: Sir Michael Caine told director Brian Henson that he had the intention of acting as if he was doing a production for the Royal Shakespeare Company, which aligned precisely with what those behind the camera were reaching to achieve. A Scrooge acting as if it’s completely normal having a frog and rats work as his book-keeping staff is indeed the perfect recipe for top notch comedy. This is a key factor in the careful orchestration of this film’s tonal changes, allowing tension to be broken and giving young audiences a deeper insight into an often frightening story whilst providing them with raucously funny moments.

It is this sincere performance by Sir Michael Caine that carries most of the emotional weight of the movie and elevates Caine himself above other on-screen depictions of Scrooge. Many an actor’s version of Scrooge has been frozen into a curmudgeonly glower, particularly those offered by Albert Finney and Jim Carrey. In stark contrast, Michael Caine’s Scrooge is boasting the entire range, from cool derision to fiery rage and even a touch of gleeful sadism. Furthermore, his Scrooge lacks the initial twinkle in his eye that has often been employed in other adaptations, including Bill Murray’s and Kelsey Grammer’s; instead Caine employs the use of his iconic cold stare, the likes of which made him an unmissable movie star in violent films throughout the 70s and 80s, such as Get Carter. Michael Caine’s Scrooge is not only formidable but genuinely quite frightening, and therefore the progression of his character’s arc proves to be quite the wild ride as Caine’s performance through Scrooge’s tragedies and regrets is nothing short of incredibly moving. As Tiny Tim leads the Cratchit family in a round of “Bless Us All”, we melt as Scrooge melts; we see him fill up with guilt, regret, and even love and fondness – it’s etched all over his face. Scrooge’s redemption is not a case of us finding out what we knew all along, that Scrooge was a decent man deep down – Caine’s Scrooge is an actual transformation that had to win our sympathy through his moving experiences.

Thus it proves to be extremely frustrating that one of the most poignant scenes that provides significant backstory as to why Scrooge had become so cold is cut from the film. Meredith Braun as Scrooge’s fiancée Belle sings “When Love is Gone” when she ends her engagement with the young Scrooge as Caine looks on and shakily joins in with the last verse only to break down in tears. This scene was cut in the original theatrical release as Disney had thought it was too upsetting to younger audiences. It was subsequently included in the VHS version but was again excluded for the DVD, Blu Ray, television and streaming releases, much to the protest and dismay of those who grew up with the VHS version (especially at the news that the original master recording may have been lost, and especially as its exclusion leaves a jarring cut). Brian Henson revealed in 2020 that this version had been located and that the scene was hopefully going to be added back into later editions.

Ultimately, the cutting of this scene represents a lack of vision from Disney and supports their current reputation for preferring the least offensive and most lazy filmmaking, often coasting on the creativity of other innovators like Jim Henson, Stan Lee and George Lucas. When thoroughly examining the production choices of The Muppet Christmas Carol, it quickly becomes apparent that such powerful storytelling could never come from a boardroom, Disney or otherwise. The film’s message is not merely a reminder of being kind and generous during Christmas, it promotes the transforming power of kindness and preaches that the unfair hoarding of wealth is immoral, evil. Scrooge’s death in the Ghost of Christmas Yet to Come’s vision is portrayed as brining joy to the townsfolk; the song “Marley and Marley” explicitly states Scrooge’s late partner’s greed as the cause of their damned afterlife (doomed to drag around heavy chains for all eternity). It really is a song many of us would want some of the current world leaders and public figures to sit down and listen to.

As such, the creative team behind The Muppet Christmas Carol have become a part of the rallying cry that has continued for well over a century since Dickens’ death. It is a film in defence of the vulnerable in society and denounces the greed of the super-rich. This is something that the tax dodging and anti-LGBTQ+ lobbying suits of the Walt Disney Company could never meaningfully achieve.

Score: 22/24

Recommended for you: The Muppets Movies Ranked

Muppet Treasure Island (1996)
Director: Brian Henson
Screenplay: Jerry Juhl, Kirk R. Thatcher, James V. Hart
Starring: Tim Curry, Billy Connolly, Jennifer Saunders, Kevin Bishop, Dave Goelz, Steve Whitmire, Jerry Nelson, Kevin Clash, Bill Barretta, Frank Oz

For all those involved in the creation of what is The Muppets’ fifth theatrical release, surely only in their wildest dreams could they have envisaged that in 25 years time, their song “Cabin Fever” would be the unofficial anthem of the whole world. The fact that this song comes to mind to those down in the doldrums of prolonged indoor living, decades after its initial release, is a testament to the ongoing popularity of Muppet Treasure Island, and confirms that it can give all of its rivals a run for their money for title of Most Beloved Muppet Film.

After the huge success of The Muppet Christmas Carol with Disney, it made perfect sense for director Brian Henson to do another period piece. After a toss up with King Arthur, it was Robert Louis Stevenson’s novel “Treasure Island” that was gifted with the most outlandish film adaption in cinematic history. The story follows Jim Hawkins (Kevin Bishop), an orphan who works in the Benbow inn alongside his friends, Gonzo the Great and Rizzo the Rat, where they are often regaled by their regular, Captain Billy Bones (Billy Connolly) and his stories of the villainous Pirate, Captain Flint, and his buried treasure. These stories quickly turn into reality when Blind Pew, one of Billy’s old shipmates, arrives at the inn to give Billy Bones “The Black Spot”- a pirate’s death sentence. It turns out Billy Bones had Captain Flint’s treasure map in his possession the whole time, but whilst trying to escape from his old murderous shipmates he suddenly dies, passing down the map to Jim, who seizes the opportunity to follow in his late father’s footsteps and go on a sea adventure. He pitches the treasure quest to the dim-witted Squire Trelawney (Fozzie Bear) who agrees to finance the voyage, which he leaves the enigmatic Long John Silver (Tim Curry), a one-legged ship’s cook, to organise. However, Billy Bones’ dying warning (“Beware the one-legged man”) goes amiss, and no sooner than they have weighed anchor does it become obvious that the voyage has been sabotaged by pirates. Jim and Captain Smollett (Kermit the Frog), must then race against the pirates to find the treasure and escape Treasure Island alive.

Each Muppet theatrical release always had something new to bring to the table, either in terms of storytelling or technical innovation. The Muppet Movie (1979) was obviously a game-changer, accomplishing many puppetry feats such as Kermit riding a bike and Fozzie driving a car; The Great Muppet Caper (1981) had the muppets in high octane action sequences including Miss Piggy’s iconic motorbike chase; The Muppets Take Manhattan (1984) had Kermit and Miss Piggy finally tying the knot; and of course The Muppet Christmas Carol (1992) became one of the greatest film adaptions of all time, with its emotionally poignant yet silly retelling of the great Dickens tale. So what did Muppet Treasure Island have to bring to the table?

The movie doesn’t really cover any fresh ground, and although it had a much bigger budget than other Muppet films, it lacked some of the production value of its immediate predecessor (the recreation of Victorian London in the winter really was breath-taking). There is no major break through in the Muppet puppetry, and in terms of story it isn’t particularly original – not being the first Muppet period piece or the first “Treasure Island” film adaption – but Muppet Treasure Island does take all of the best elements of the previous Muppet film releases (and productions in general) and balances them perfectly in one of the most universally appealing family films of all time. For those who grew up on the works of Jim Henson, Muppet Treasure Island is the last of the truly great Muppet films, with all of its successors not quite managing to hit the ultimate sweet spot that fans have craved ever since.

The secret to Muppet Treasure Island‘s ability to enthral adults and children alike is its superb writing and direction. Both Brian Henson and Jerry Juhl are Muppet veterans, with Juhl providing writing since ‘The Muppet Show’ and Henson being enlisted in the family business since The Muppet Movie. And, judging by the huge box office and critical success of The Muppet Christmas Carol, both know how to do source material justice.

Robert Louis Stevenson’s original book is actually packed with murder and death, which if completely faithfully translated to film would prove to be a frightening watch for very young audiences, but the darker moments of Muppet Treasure Island are quickly balanced-out with comedy, breaking any tension. This isn’t just a benefit for any kids watching, Juhl’s comedy prowess is smart enough or at least absurd enough to leave most adults in hysterics. One such notable moment (of which there are many within the 99-minute runtime) is when Long John Silver fires his pistols to defend himself from his angry mob of pirates: one pirate is left grieving after one of his shipmates is apparently fatally wounded by Silver’s gunfire, to then be gently reminded:

” But Dead Tom’s always been dead – that’s why he’s called Dead Tom!”

Muppet Treasure Island is full of these brief, humorous sketches to keep the story light-hearted, making this Muppet film most akin to ‘The Muppet Show’, which was on the same level as ‘Monty Python’s Flying Circus’ in terms of breakneck surrealist comedy. These brief diversions from the action of the main storyline, such as the ongoing sub-plot of Brooklyn city rats using the voyage of the Hispaniola as a cruise, help to maintain the youngest of audience members’ attention. Whenever there is exposition, a joke is not too far away.

It would be a lie to say that, with this constant onslaught of gags, Muppet Treasure Island doesn’t come across as annoying just as many other children’s films do, with some reliance on long-drawn, unnecessary squealing and noise from the more silly Muppet characters. However, it has the edge over most contemporary family films as so much of its comedy doesn’t spawn from lazy pop culture references. Furthermore, despite it rivalling the laughter rates of comedy juggernauts like Airplane! (1980), the humour of Muppet Treasure Island doesn’t actually detract from the story itself. The straight men of the Muppets entourage such as Kermit and Sam Eagle are brought out for moments of peril, but most of the emotional poignancy is achieved by the human characters, namely Jim Hawkins and Long John Silver.

The balance and interaction between the Muppets and their human co-stars is one of the most important factors for a successful Muppet flick: in its predecessor, The Muppet Christmas Carol, Michael Caine (as Ebenezer Scrooge) was the focal point of the film’s plot, which hadn’t been done before by the Muppets. It’s a major reason that The Muppet Christmas Carol is one of the most popular Christmas movies of all time, achieving an impressive depth and seriousness that does Dickens’ philanthropic message justice. In Muppet Treasure Island, the plot centres around Jim Hawkins, played by child actor Kevin Bishop. Bishop’s lack of experience, having only previously appeared in children’s TV series ‘Grange Hill’, meant he struggled to carry the plot single-handedly, ultimately leaving much of the film’s emotional weight to screen and stage legend Tim Curry in his role as Long John Silver.

It is curious to note that whilst Michael Caine played the part of Ebenezer Scrooge as straight as he would in a Royal Shakespeare Company production, Tim Curry totally hams it up – the man is practically one of the Muppets. Still, even with this larger than life screen presence, he manages to navigate quieter moments with his human co-star, creating a very believable relationship between Hawkins and Silver, making Silver’s treachery all the more shocking and hurtful. Muppet productions, despite their reputation for wackiness, have always had substance, with each of their movies having a moral to their story, and as such Tim Curry’s Silver is a dangerous figure who helps to build the thrilling adventure story at the heart of this film, his flamboyance and camp touches making him the kind of villain who is impossible to not love, a key component of what makes Muppet Treasure Island so memorable and fun. Backed up by the experience gained from the four earlier Muppet movies, Juhl and Henson, along with Curry, knew how to nail the serious drama of “Treasure Island”, and it’s in getting this story right that the film production was able to give The Muppets a free pass to go absolutely nuts.

It truly is the craziness of Muppet Treasure Island that has made it so memorable for the 25 years since its release – there isn’t really a comparison to any other family film that can rival its unrestrained madcap comedy, capable of orchestrating a continuous stream of belly laughs from its audience. The fact that most of the human co-stars were unable to resist joining in with the hilarious Muppet antics is simply delightful.

The best demonstration of Muppet Treasure Island‘s ability to offer cheer is its musical legacy. One of the most underappreciated elements of all Muppet productions is their wealth of original songs, with these films being the most over-looked entries of musical cinema. Not only does the film boast a pre-Pirates of the Caribbean score from Hans Zimmer, but it has some of the most popular songs of the Muppets’ discography – it is very clear that all the stops are pulled out for this film’s musical numbers.

“Upstage Lads! This is my only Number!”

Much of the adoration garnered by Muppet Treasure Island is due to these musical numbers. All are relevant and integral to the plot, and they each help to create the joyful and adventurous mood of the film. They are essential to keeping true to the adventurous spirit of the original novel, being a vehicle for the best moments of Muppet comedy, and for illustrating the warmth and joy of this production. In The Muppet Movie, Kermit expresses his wish to be able to make millions of people happy, and this ambition more than comes true with Muppet Treasure Island, one of the smartest family comedies of the 90s and beyond.

For those who first saw the film released in 1996, we have never forgotten it, but the secret to its ongoing popularity even 25 years on is because it doesn’t disappoint. It never falls short of the expectations of those who return to the film as adults after first seeing it as children. Muppet Treasure Island is just as hilarious and as fun as we all remembered it back in the day, and while there are moments in which it can go over the top, and while it doesn’t necessarily offer anything new to long-standing fans, Muppet Treasure Island has set the bar for where we hope Muppet Productions in the future will eventually reach again.

17/24

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Funnily enough, this has proven to be a difficult article to complete, with this now being the third request from our editor to attempt this piece. I’ve been trying to be objective, but in light of Jim Henson Pictures’ new found infamy with the sugar snorting, silly-string-jizzing antics of The Happytime Murders, I feel I have nothing to lose in tossing out my controversial Muppet opinions. The latest effort of Brian Henson’s Razzie-winning cynical satire, and the last failed ‘Muppets’ TV series consolidates the basic truth that Americans don’t deserve The Muppets. Seeing the cornerstone of my childhood kicked about and unappreciated boils my blood. So, whilst possessed by the spirit of an enraged Lord Grade, and with the equal ferocity of when I rip the wax-strip from my underarm, I dive into this piece with well documented evidence for my shocking prejudices.

Author’s note: all films listed are based on cinematic release only (sorry The Muppets’ Wizard of Oz).

8. The Muppets Most Wanted (2014)

This is the exact kind of movie that makes you despise Disney’s monopolisation of Hollywood and international media.

After the massive success of The Muppets (2011), it was of course time to cash in on the hype with a sequel. The problem with this was not necessarily Disney’s involvement in the continuation of the franchise, but more how The Muppets Most Wanted is the laziest and sloppiest attempt at film-making I’ve ever seen: they make the plot up as they go along. The World’s Most Dangerous Frog, Constantine, swaps places with our beloved Kermit as The Muppets set off on their comeback world tour, orchestrated by an evil Ricky Gervais who is in cahoots with Constantine in a plot to steal the English crown jewels and frame the Muppets for the crime. It’s a silly enough idea, but the execution stinks, resulting in an instantly forgettable movie.

With nowhere near enough focus on The Muppets themselves, the audience’s attention is directed towards new characters, a risky move for a newly re-established franchise, especially as it was the dynamic between the central Muppet characters that made them such a success in the first place. Even worse, whilst The Muppets upheld traditional puppetry and special effects, Disney couldn’t resist the temptation of CGI in the sequel. Honestly, I’m seething… it looked as convincing as Gerry Anderson’s wooden puppets.

There is an attempt to cover up the lack of strong plot and puppetry betrayal with hark backs to The Muppet Show, but the distinct lack of variety and vaudeville routines does not justify these empty nostalgia trips and the vapid “celebrity” cameos. Once was more than enough for me. I won’t be revisiting The Muppets Most Wanted any time soon, and no wonder the franchise came to a resounding stop at this point. You could even put the blame for The Happytime Murders firmly on the shoulders of this entry.

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7. Muppets from Space (1999)

One reason I’ve avoided writing this particular piece for so long is because I knew it would hurt. I’m so sorry Muppets From Space, I love you but I can’t justify putting you at a higher spot than second from worst.

After two book adaptions in the musical tradition, Jim Henson Pictures took a rather odd turn in deciding to focus on Gonzo’s origins story – and apparently, he’s from outer space! I remember being over the moon when this movie came out, and to this day it is the only Muppets feature that I have seen in the cinema. It does hold a special place in my heart beyond this shallow nostalgia: Gonzo has always been my favourite out The Muppets as I related to his natural weirdness – my mam always affectionately referred to me as her little weirdo.

At times people weren’t always very kind to me or my idiosyncrasies which can really make you feel like you don’t fit in, but I always eventually realised that the people who mattered still loved me, and this is Gonzo’s story in this movie: feeling terribly out of place in the world, pinning his hopes on a long-lost family from space, and after nearly getting his brain sucked out he finally realises The Muppets were his family all along.

However, my perspective has been massively distorted by rose-tinted glasses (and the devastating panache of Pepe the King Prawn) and compared to other productions it does, I must reluctantly admit, fall flat.

Clearly, there was a massive drop in production value after Muppet Treasure Island (cramped sets, lacklustre production designs, mediocre star appearances and underwhelming location shoots). Despite a popping soundtrack, it was still rather disappointing to be deprived of original Muppet music which was always an integral part of the franchise. Oddly enough, unlike the other lower ranking movies in this list, the imbalance between humour and drama is caused by too much wackiness and not a powerful enough plot (or a dramatic plot not delivered effectively). Muppets From Space benefits from nostalgia but it won’t impress newcomers, landing it at number 7 on this list.