Together Again, Again: MUPPETS MOST WANTED

Muppets Most Wanted finds Jim Henson’s loveable felt-and-fur goofballs up to their usual good-natured meta trickiness and bountiful warm-hearted silliness. Writer-director James Bobin, co-writer Nicholas Stoller, and songwriter Bret McKenzie, who revived the franchise in 2011 with the surprisingly nostalgic and emotional – but no less gut-bustingly funny – The Muppets, are upfront about what their new picture is. It’s a sequel with the Muppets fresh off the success of their last movie setting off on a European tour where they cross paths with a jewel heist in progress. If that sounds partly like a riff on 1981’s The Great Muppet Caper, the original Muppet sequel, it is and the movie owns up to it, winking right from the start. The opening musical number is “We’re Doing a Sequel,” a song full of funny barbs at the business of Hollywood and a clear tip of the hat to Caper’s curtain raiser “Hey, a Movie!” It’s a movie that loves movies, but loves the Muppets even more. And that’s irresistible.

In their opening number, which starts right after the closing number in the last movie, the gang sings about being a “viable franchise” and preparing what’s technically their “seventh sequel,” warning that means it’s “not quite as good.” The Muppets are perpetual optimistic underdogs, lovable misfits who scramble around with manic showbiz energy, eager to tell you that the show must go on. Their personalities are so agreeably constant, chaos and order held in perfect, immutable manic amusement. It’s fun to see them, as performed here by Steve Whitmire, Eric Jacobson, Dave Goelz, Bill Barretta, David Rudman, Matt Vogel, and Peter Linz, bounce off of each other in the old ways. Fearless leader Kermit the Frog, exasperated, is always wrangling Miss Piggy, Fozzie Bear, Gonzo, Animal, and all the others, competing egos and eccentricities that constantly threaten to derail their variety shows.

As usual, story exists mainly to provide a rigid genre form for the Muppets to push against, moving through charmingly near-slapdash sequences of jokes and songs. Most Wanted’s plot involves the world’s greatest criminal mastermind, a Kermit-lookalike frog named Constantine. He plots to swap places with the showbiz icon and use the cover of the Muppet tour to burgle museums at every stop. Most of the movie finds the fake Kermit faking his way through interactions with the characters we know and love, while the real Kermit plots to escape a goofy Siberian gulag. Tina Fey plays the warden, snarling, but softhearted underneath. Fellow prisoners include Ray Liotta and Jemaine Clement with thick Russian accents and Danny Trejo playing himself. (His description of his “triple threat” attributes is priceless.) At least the guards and the prisoners can agree on something, when they sing a song about how their prison is the best state-funded hotel in all of Russia. Kermit just wants out of there.

The Muppets gang moves along unaware of the switch for a while, though some grow suspicious about the changes in their old pal Kermit. He talks with a gargling vaguely foreign accent now, but their new tour manager Dominic Badguy (Ricky Gervais, playing up his shiftiness) assures them their friend just has a cold. They continue with their plan to stage Muppet Shows in a collection of European cities, every place an occasion for good culturally specific jokes. In Berlin, the theater marquee reads “Die Muppets.” Seeing this, Statler and Waldorf wryly wonder if the reviews are in already or if that’s the suggestion box. Meanwhile, a French INTERPOL agent (Ty Burrell, with a chewy Clouseau accent) and Sam the Eagle bumblingly investigate the robberies that seem to be following the Muppets around.

The impostor storyline allows the franchise a level on which to comment upon its own evolution. Once more Bobin, Stoller, and McKenzie prove their love for the Muppets. Their version of these characters is not an exact recreation. How could it be? The Muppets haven’t been exactly the same since Jim Henson died, and later when Frank Oz stepped away. No matter how good, Bobin and his crew are impersonators. But Most Wanted, like The Muppets before it, is filled with such affection for the characters and the smart silliness of Henson’s original vision, we’re better off with these films than none at all, or, worse yet, soulless profit-driven corporate property perpetuation. It’s a movie that knows what made the Muppets most lovable and sets out recreating it as best it can, with love and care. The filmmakers are true to the Muppet spirit without suffocating their own comic sensibilities in an effort to recreate the work of the irreplaceable original Muppet artists. The film’s story is resolved because Muppets are true to themselves and to each other. I’m glad to see their new stewards are as well.

Muppets Most Wanted is very good entertainment, loaded up with smart references and broad craziness. It’s a satisfyingly warm and inviting brand of inspired high/low comedy, a barrage of puns, vaudeville sketches, dry asides, sloppy slapstick, and cornball dad humor, with wall-to-wall witty musical numbers, lovable homage, and tickling satire. There’s also a fleet of random and inspired cameos, a good half of which kids today won’t get and most are sure to baffle kids of the future. In other words, it’s a Muppet movie. I had a smile on my face the whole way through. I wouldn’t have it any other way.

Spy Again: SPY KIDS: ALL THE TIME IN THE WORLD

The following may be a controversial claim. Spy Kids is Robert Rodriguez’s best movie. The 2001 feature follows a brother and sister, Carmen (Alexa Vega) and Juni (Daryl Sabara), who discover that their parents (Carla Gugino and Antonio Banderas) are spies after they disappear on a mission. It’s up to the kids to save them. Aside from the great plot hook, Rodriguez’s film is filled with imagination of a quick, candy-colored variety. The action is well paced, the special effects have a kind of cartoonish believability, the jokes are actually funny to an audience of both kids and adults, the supervillain played by Alan Cumming is a perfect balance of silly and menacing, the emotions feel real, and the not-quite-heavy-handed moral is peppy wish-fulfillment and empowerment to kids while still respectful of adults. Here’s a family film that genuinely encourages kids to precociousness and curiosity without making the parents the buffoonish butts of every joke. This is all tied together with Rodriguez’s one-man-band behind-the-scenes energy and love of genre that power his best films. In its eagerness to please and its off-kilter sense of surprise, Spy Kids is essentially a kid-friendly Grindhouse movie.

Alas, we don’t have too little of this good thing. Box office success, coupled with Rodriguez’s obvious love for the material, guaranteed sequels. The second (Island of Lost Dreams) retained a minimum of charm and good-will to justify its own existence, but by the super-gimmicky third feature (Spy Kids 3D: Game Over) the whole thing felt flat and dead, done in by its own cartoonish exuberance and childish excesses. After that came a long period of dormancy, but after eight years here we are again in another summer franchise revival.

Spy Kids: All the Time in the World introduces us to a nine-months-pregnant spy (Jessica Alba) chasing down Time Keeper, a supervillain (Jeremy Piven) intending to manipulate time itself somehow. (It’s never all that clear). She catches him just in time to promptly retire and then race to the hospital and give birth. Her husband (Joel McHale) and step-kids (Rowan Blanchard and Mason Cook) have no idea of her secret identity as a freshly retired spy. Of course, inevitably events conspire to reveal the secret and call the siblings into duty as freshly minted spy kids. It turns out that their dog is actually a robot dog with the voice of Ricky Gervais who proceeds to help them flee the bad guys and escape to the good guys’ headquarters.

To loosely tie the franchise together, original spy kid Carmen is back, this time as a full-grown spy who yearns to restart the spy kids division. She’s given the task of meeting and briefing the new arrivals on the truth about their stepmother. She also hands them a massive info dump and gifts them their very own gadgets. And rest assured that Juni pops up as well before all is said and done. It’s nice to see the original kid spies all grown up, especially since they’re really the only reminder that this premise was once used to tell a good story.

Each successive Spy Kids movie has lowered the bar by stripping out a few more reasons why anyone over the age of twelve would want to watch. By the fourth installment, it’s strictly for-kids-only. There are poop jokes, practical jokes, slapstick, puns, candy, and gadgets. It’s fast, loud, and colorful, but it has a kind of over-caffeinated amateurish spastic energy that grates. At the movie’s start, I had low expectations, but the aggressively pandering button pushing wore out its welcome fairly quickly. I’m sure some kids will like this one just fine, but there’s no reason anyone else should be put through the experience. I love Spy Kids, but as far as I’m concerned, there is really only one film about them, two if I’m feeling generous.

Note: The experience (already in headache-inducing 3D) is billed as being enhanced through “4D Aromascope” and therefore comes with scratch-and-sniff cards handed out with the tickets that are to be smelled according to the corresponding numbers that flash on the screen throughout the film. Aside from the feeling of awkwardness brought on by fumbling around in the dark, trying in vain to catch a whiff of bacon or a diaper on a piece of cardboard, it adds nothing.

Lingering in the Multiplex: Wimpy Gervais, Robo-Bruce

The Invention of Lying comes from the mind of comedian Ricky Gervais (he writes, produces, stars and co-directs) and he has a great hook. What if the human race never discovered lying? At first, the results are hilarious with people dryly pointing out the obvious and sharing innermost thoughts (though why some form of rudimentary manners has also never developed is beyond me). Soon, Gervais discovers he can say something that isn’t (there isn’t even a word for lie) and the comedy moves to a stranger place where he can make just about anything happen because no one has cause to doubt what he says. Unfortunately, even with material this rich, the movie peaks about halfway through, devolving into a depressingly conventional love story that centers around a weak character inhabited by Jennifer Garner. The alternate universe itself becomes tiring, with incessant frankness becoming less tickling and more bludgeoning. To make matters worse, the style of the film’s imagery is nearly suffocating in its blandness. There are some laughs to be found (including one of the funniest scenes of the year) but that just makes the movie’s ultimate failure all the more depressing.

Surrogates is a slick sci-fi mystery from director Jonathan Mostow that takes place in a world where human beings live their lives with little risk due to mechanized humanoid devices that can take their place. But, as is always the case in these kinds of flawless-system movies, something goes wrong. The movie doesn’t chase down the tantalizing implications of its premise as thoroughly as it could have (though, given the barely 90-minute run time, that might have been edited down), but it’s still easily entertaining. It’s the motion picture equivalent of one of those cheap sci-fi paperbacks that can be bought to bring travelers distraction without leaving much impact. The special effects are excellent (especially the weird waxy complexion of the surrogates), as are the well-staged, well-lit action scenes that are often exciting. Plus, after all these years, it’s still a pleasure to see Bruce Willis run around fighting the bad guys. The movie's not at all as good as the similarly-themed Minority Report, but it's good enough for a lazy afternoon.

Night at the Museum: Battle of the Smithsonian (2009)

The first Night at the Museum was a dull, sad experience as it was nothing less than a feature-length death of a great concept, killed by neglect. Sure, Ben Stiller stood amiably in the center of crazy CGI gewgaws as New York City’s Museum of Natural History came to life after nightfall, but it was repetitive, never clever, and just plain boring. It was a tacky mess of bad jokes and unearned sentiment, but it made a lot of money so here we are with Night at the Museum: Battle of the Smithsonian. In this new picture, there are some nice visual moments and some genuinely funny moments, but it’s also louder, longer, and more nonsensical and unnecessary than last time.

This time around, Stiller follows most of the characters from the first movie (including a monkey, Owen Wilson and Steve Coogan) to the Smithsonian where they are being terrorized at night by a very mean ancient Egyptian pharaoh. Hank Azaria is very funny as the pharaoh. He steps through his scenes with a goofy, lisping accent and speaks through it with such oddball intensity, that I couldn’t help but be amused. Unfortunately, he’s the villain, and I just couldn’t take him seriously as a threat. At one point he takes one of our wax-figure heroes and threatens to bury the figure in sand if Stiller doesn’t do as he’s told. So off Stiller goes, worrying about this wax figure and all I could think was: he’s a wax figure! He won’t suffocate! This led me into a larger, more fundamental problem I was having with the movie. I didn’t understand why we were supposed to care about these statues and figurines. Just because they can move and talk doesn’t make them human. Why does Stiller care and why should I? This sort of thing can really work (see: the Toy Story films) but here is a sad, sorry case of botched anthropomorphism.

There’s a host of very funny people here, too, but they don’t have time to create anything really funny as they just dash about, shouting a line or two here and there. Amy Adams is her usual brand of charming as an Amelia Earhart statue that struts through the picture spitting out roughly 30s-style screwball-comedy lines. Christopher Guest and Bill Hader have some funny moments as Ivan the Terrible and General Custer, respectively. Jonah Hill, Mindy Kaling, and Ricky Gervais, as well as the Jonas brothers as singing cherubs, each get a brief scene to shine, but too much of the movie is given over to a totally bland Ben Stiller performance and uninspired plotting that sends characters everywhere and nowhere at the same time while seeming to change its fantasy rules whenever it suits the filmmakers. Early on, much is made of the Egyptian tablet that causes the museum to come to life, and yet (little spoiler) the Smithsonian creatures stay very much alive when Stiller flies off at the end with tablet in hand.

This thing is a mess, woefully inconsistent, chaotic, and overlong. I laughed a little, and found some of the visual tricks clever (there’s a neat moment involving a hall of artwork), but even for lightweight summer entertainment this is junky and ill conceived, an uncalled for expansion of a what was a poor property to begin with. At times, when I lost myself in laughter at Azaria's performance, I could almost forgive the movie. But every time I stopped laughing, I crashed back into reality, wondering when the movie would ever end. And yet, I still think the idea of all the things in a museum coming to life is a great concept, just not in the hands of the people who've been inflicting these upon us.