Kermit, Gonzo and Fozzie are reporters who travel to Britain to interview a rich victim of jewel thieves and help her along with her secretary, Miss Piggy.
Gonzo is contacted by his alien family through his breakfast cereal. He is kidnapped and it's up to Kermit and the gang to rescue Gonzo and help reunite him with his long-lost family.
A Muppet fanatic with some help from his two human compatriots must regroup the Muppet gang to stop an avaricious oil mogul from taking down one of their precious life-longing treasures.
While on a grand world tour, The Muppets find themselves wrapped into an European jewel-heist caper headed by a Kermit the Frog look-alike and his dastardly sidekick.
At 12 years old, Kermit the Frog and best friends Goggles and Croaker travel outside their homes in the swamps of the Deep South to do something extraordinary with their lives.
Kermit the Frog is persuaded by agent Dom DeLuise to pursue a career in Hollywood. Along the way, Kermit picks up Fozzie Bear, Miss Piggy, 'The Great Gonzo', and a motley crew of other Muppets with similar aspirations. Meanwhile, Kermit must elude the grasp of a frog-leg restaurant magnate. Written by
Ray Hamel <hamel@primate.wisc.edu>
Frank Oz: Wearing motorcycle gear in the El Sleezo. He's the thug who wrestles with Fozzie (one of his main roles). See more »
Goofs
When Kermit the Frog is riding his bike down the street toward the beginning of the movie, two strings can be seen momentarily in front and behind the bike. See more »
Quotes
[first lines]
Statler:
I'm Statler.
Waldorf:
I'm Waldorf. We're here to heckle "The Muppet Movie".
Gate Guard:
Gentlemen, that's straight ahead. Private screening room D.
Statler:
Private screening?
Waldorf:
Yeah, they're afraid to show it in public.
[they laugh as their car proceeds forward]
See more »
Crazy Credits
After the last credit, Animal is shouting,"GO HOME! GO HOME!", then he gets sleepy, "Bye-bye..." then falls asleep. See more »
We all lost something important when Jim Henson died. But his magic alone wasn't sufficient to do more than clever skits, both before and after this gem. Some fated match of director, writers, songwriters and puppeteers came together to create an underappreciated masterpiece.
Forget the kids -- this is a great work, period. Among the best story-films ever. And nowhere is the enfolding of reality and fantasy more rich than here. Naturally, you have the mix of humans (accented by celebrity cameos) and puppets. And some puppets are of humans, some of human-like animals, and some of animal-like animals. But that's just the tokens.
The real novelty comes in the story. It is a film about the making of itself, with a wonderful sequence at the end where the film is represented in cartoonish props contrasted with a `real' rainbow. Throughout, one weaves between being in the story and observing the story. Kermit (Henson's alterego) says `I hope you appreciate I'm doing my own stunts.' Think about it.
The songs, themselves self-referential, are important frosting: `why are there so many songs about rainbows?'
`Life is a movie, write your own ending, keep believing, keep pretending...' You don't get that in common fare. If you have kids, this is the most educational exposure you can give them among the kiddie offerings. There's nothing more powerful than the ability to perform abstract reasoning and the foundation of that is the play between what things are and what things represent them. Thanks and God bless you, Jim.
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We all lost something important when Jim Henson died. But his magic alone wasn't sufficient to do more than clever skits, both before and after this gem. Some fated match of director, writers, songwriters and puppeteers came together to create an underappreciated masterpiece.
Forget the kids -- this is a great work, period. Among the best story-films ever. And nowhere is the enfolding of reality and fantasy more rich than here. Naturally, you have the mix of humans (accented by celebrity cameos) and puppets. And some puppets are of humans, some of human-like animals, and some of animal-like animals. But that's just the tokens.
The real novelty comes in the story. It is a film about the making of itself, with a wonderful sequence at the end where the film is represented in cartoonish props contrasted with a `real' rainbow. Throughout, one weaves between being in the story and observing the story. Kermit (Henson's alterego) says `I hope you appreciate I'm doing my own stunts.' Think about it.
The songs, themselves self-referential, are important frosting: `why are there so many songs about rainbows?'
`Life is a movie, write your own ending, keep believing, keep pretending...' You don't get that in common fare. If you have kids, this is the most educational exposure you can give them among the kiddie offerings. There's nothing more powerful than the ability to perform abstract reasoning and the foundation of that is the play between what things are and what things represent them. Thanks and God bless you, Jim.