The Muppets (2011)

Rocchi calls the film an unexpectedly brilliant, emotionally resonant work and one of the year’s best. He especially praises its heartfelt characterization and storytelling, while noting that the finale’s key reveal is not set up earlier.

Richards finds the film a joyful, cheering return to the Muppets’ spirit. He especially praises their charmingly inept performances and gleeful surreal humor.

The critic finds the film a joyful, nostalgic love letter to childhood. The reunion of the Muppets and its infectious affection for Jim Henson’s creations are singled out for praise.

Chang finds the film a charming, unexpectedly successful revival that balances knowing humor with old-fashioned musical warmth. He especially praises its upbeat songs and the creative team's affectionate, irreverent handling of Muppet tradition.

Sharkey finds the film a warm, fuzzy musical comedy that is also sharp and subversive, with only a few stumbles. She praises its smart parody and the fresh edge contributed by James Bobin and Bret McKenzie.

Staunton praises the film as a laugh-out-loud return to the Muppets’ roots. He singles out its successful revival of the familiar characters, aided by Jason Segel and Amy Adams.

The review is strongly positive, calling the film a great comic act. It singles out the Muppets’ impeccable timing as the key to its comedy.

Ebert finds the film entertaining and warmly affectionate toward the Muppets. He particularly praises its nostalgic spirit and musical comedy.

Weber finds the film ultimately irresistible, though its nostalgia sometimes comes at the expense of its child-friendly elements. He praises the fourth-wall jokes and the Cee Lo Green cover, while criticizing Walter as bland and some cast members as underused.

Phipps finds the film fundamentally likable, though its nostalgia and sentiment often overwhelm its humor. He praises the songs and witty gags for capturing the Muppets’ irreverent, warm spirit.

McCarthy finds the film a breezy, mostly winning return that should entertain longtime fans and attract a new generation. He praises the Muppets’ charm and the film’s good-cheer direction, while faulting the underwritten human characters, especially Amy Adams’s sidelined role.

Ebiri finds the film uneven as a movie but warmly effective as pop nostalgia. He singles out Jason Segel’s earnest, awkward performance and the affectionate return to the Muppets’ familiar show format.

Barnes finds the reboot charming and entertaining, though its enforced cheerfulness is shadowed by sadness. He praises the chirpy songs and knockabout humour, while noting that Amy Adams is underused.

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The URL identifies a New York Times review of the 2011 film, but the page content is blocked. The critic’s verdict and any specific praise or complaint cannot be verified.

The critic calls the film an exceptionally fun, joyous return for the Muppets. They praise the affection behind its musical numbers and the blend of silly jokes with clever humor.

The headline gives the film a strongly favorable verdict, calling it one of the year's best. The accessible page provides no further detail about what the reviewer praises.

The critic praises the film as a warm, intelligent, and consistently funny return that works for both children and longtime fans. He singles out its clever balance of silliness and wit, while noting that Mary is underwritten and her song is the weakest.

The review calls the film a glorious, faithful return to the Muppets’ anarchic spirit, despite a few slow moments. It especially praises Kermit’s expressive performance and the film’s absurd humor, songs, and ensemble comedy.

Bitel finds the film charming and relevant, with its idealism and self-parody still entertaining. He particularly praises the fast pacing, improbably great songs, and clever cinematic deconstructions.

The critic finds this an affectionate, poignant revival that should please longtime fans and newcomers. The musical numbers and the puppets’ old-school charm stand out, though the human story and villain occasionally disappoint.

Han finds the film a solid return to form that can please newcomers and longtime fans alike. She praises its balance of childlike innocence and grown-up wit, while criticizing the romantic subplots involving Mary and Miss Piggy.

Atkinson finds the film a hoot, though not quite as sensational as its Muppet-inspired exuberance promises. He praises Segel and Stoller's meta-movie humor and the film's lively parade of celebrity cameos.