Segel and Adams demonstrate a joyful earnestness in several musical numbers (for what’s a Muppet movie without song and dance?) that could have easily fallen flat, while Cooper’s gleefully villainous portrayal of oil tycoon Tex Richman echoes that of Charles Durning’s turn as frog-legs merchant Doc Hopper in The Muppet Movie (1979).
I am first not entirely convinced of the honesty of the theme: while the plot of The Muppets neatly mirrors its practical function to Walt Disney Pictures, attempting to prove the financial viability of the classic characters with a target audience that was not yet born at the release of their last truly great vehicle, the 1992 picture The Muppet Christmas Carol , it's really not at all the case that Kermit, at least, has been invisible for so long that your average 12-year-old has absolutely no idea who he is, and the film goes even farther by suggesting without saying it outright that the last time anybody cared about the Muppets was at the time of 1979's The Muppet Movie , and that's just plain insanity (The Muppet Show itself stayed on the air until 1981, and it wasn't poor ratings that ended it).
The Bottom Line: "The Muppets" may not have all the magic Henson and Oz brought to the original "Muppet Show" or the equally brilliant "The Muppet Movie," but we'll give Segel et al credit for trying and it's incredibly hard to fully fault a movie with such a terrific finale.
That distinction belongs to the decision by Segel -- who co-wrote the script with Nicholas Stoller (" Get Him to the Greek ") -- to follow the blueprint used in "The Muppet Movie."