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.

It’s the hap-happiest season of all. We bring nature inside as we adorn our living spaces with seasonally appropriate trees, and we light up the longer nights with bright and colourful lights. Music from generations long since passed is re-played and re-contextualised, and centuries old iconography is re-evaluated and repurposed.

There’ll be parties for hosting, marshmallows for toasting, and carolling out in the snow. If we’ve been good, we’ll receive gifts (thanks Santa!), and if we’re lucky we’ll eat so much food we can barely move. Almost certainly, we’ll watch a movie. From the Netflix Originals of the current era to the silver screen classics of wartime Hollywood, Christmastime movie watching doesn’t discriminate based on picture quality, colour or the lack thereof, acting powerhouses or barely trained actors – if it works, it works. And if it’s good, we’ll hold onto it forever.

In this Movie List from The Film Magazine, we’ve scoured the annals of Christmas movie history to bring you the very best of the best to watch this holiday season. These films are Christmas classics and beloved cult hits, some culturally significant and others often overlooked. These films are seasonal treats; two advent calendars worth of movie magic from the big-wigs in Hollywood and beyond.

Short films (those with a runtime of under one hour) will not be included here, nor will films that cross multiple seasons but feel like Christmas movies – sorry You’ve Got Mail and Bridget Jones’s Diary. Debatable Christmas movies like Gremlins have also been omitted because of their inclusion in our alternative list “10 Excellent Non-Christmas Films Set at Christmas“. Seasonal classic The Apartment has also been disqualified on the grounds that it covers Christmas and beyond, and is arguably more of a new year’s movie.

These are 50 Unmissable Christmas Movies as chosen by The Film Magazine team members. Entries by Mark Carnochan, Kieran Judge, Martha Lane, Sam Sewell-Peterson and Joseph Wade.

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1. Remember the Night (1940)

Golden Era stars Barbara Stanwyck and Fred MacMurray (who would go on to star in The Apartment) spark an unlikely romance when Stanwyck’s Lee Leander steals a bracelet from a jewellery store and MacMurray’s John “Jack” Sargent is assigned to prosecute her over the Christmas holidays.

One of the era’s many beloved studio romantic comedies, Remember the Night features all the elements that would come to define the genre while encompassing some screwball comedy and classic transatlantic accents. The tagline read “When good boy meets bad girl they remember the night”, and it’s likely you’ll remember this seasonal treat too. JW

2. The Shop Around the Corner (1940)

Few things signal classic Hollywood Christmases like Jimmy Stewart, and 6 years before arguably his most memorable performance in the iconic Frank Capra Christmas movie It’s a Wonderful Life, he starred in a seasonal favourite that was just as beloved by critics, The Shop Around the Corner.

This holiday romance from Ernst Lubitsch (who also directed Heaven Can Wait) sees Stewart’s Alfred fall in love with his pen pal who, unbeknownst to him, is the colleague he most despises at his gift store job – You’ve Got Mail has got nothing on this. With some hearty moments and all of the circumstantial comedy of the best movies of the era, The Shop Around the Corner will make you laugh and fill your heart in that special way that only the best Christmas movies can. JW

3. Holiday Inn (1942)

Early sound pictures were revolutionised by famed tap dancer Fred Astaire, and by 1942 he was a certified movie musical megastar. In Mark Sandrich’s seasonal musical Holiday Inn, he teams with would-be Christmas icon and man with a voice as sooth as silk, Bing Crosby. The result is one of the most iconic and influential Christmas movies ever made.

The film’s outdated attitude towards race are cringe-inducing and inexcusable in a 21st century context (there’s a whole sequence featuring blackface), but its other dated sensibilities shine bright amongst more modern and commercial Christmas films; its wholesome aura, classic dance scenes, and era-defining songs making for an unmissable experience. To top it all, Bing Crosby sings “White Christmas” for the first time in this film, cementing it in history as a seasonal classic. JW

4. Meet Me in St. Louis (1944)

Widely acknowledged as one of the holiday season’s best-ever films, Vincente Minnelli (An American in Paris) illuminates his would-be wife Judy Garland in arguably her most established performance, bringing Christmas cheer to all without sacrificing any of the harsh realities facing the American people in the first half of the 20th century.

Featuring the original (and arguably the best) rendition of Christmas classic “Have Yourself a Merry Little Christmas”, and being anchored by some heartbreaking story elements, Meet Me In St. Louis maintains its power and relevance 80 years on. It offers a Christmas movie that will forever mark the height of its sub-genre, as well as the two filmmaking careers (of Minnelli and Garland) that helped to define the era. JW

Recommended for you: There’s No Place Like St. Louis at Christmas

5. Christmas in Connecticut (1945)

Remember the Night star Barbara Stanwyck is once again front and centre for a Golden Era Hollywood Christmas movie, this time playing a city magazine editor whose lies about being a perfect housewife are put to the test when her boss and a returning war hero invite themselves to her house.

This is screwball comedy with all the spirit of the festive season is as romantic as it is funny, and prominently features the shadows of World War II to gift the film a unique emotionality that has ensured it is rewatched year on year. JW

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

“Marley was dead: to begin with”. As Rizzo the Rat might say, spoiler alert! 

In December 1843, Charles Dickens published “A Christmas Carol” (unnecessary full title: “A Christmas Carol. In Prose. Being a Ghost Story of Christmas”) and it was a hit. Each edition published quickly sold out and prompted Dickens himself to undertake hugely popular public readings during Yuletide in the following years right up until his death in 1870. An inevitable staple of the leadup to Christmas, Dickens’ timeless story has become one of the most frequently adapted titles for stage and screen in the English language.

This is the story of Ebenezer Scrooge, a cruel, miserly and solitary businessman who despises charity, human warmth and empathy shown to others, especially during the festive season. To Scrooge, Christmas is “a humbug” and those who keep it and make merry, such as his impoverished clerk Bob Cratchit and kindly nephew Fred, are merely deluding themselves and others of the notion that we are kindly by nature. Following his usual 24th December dismissal of cheer and goodwill, Scrooge is visited the night before Christmas by three ghosts offering visions of his his past, present and future, and in so doing inspire lasting change in his outlook on life and his treatment of others.

If we considered every film, television special, miniseries and animation, we wouldn’t be done in time even for next Christmas, so we’ve limited our selection in this edition of Ranked to the most prominent film adaptations released theatrically. Based on creativity of the adaptation, critical reception and how each version evokes the spirit (pun intended) and message of Dickens’ work, this is The Film Magazine’s A Christmas Carol Films Ranked.

Follow @thefilmagazine on Twitter.

9. Spirited (2022)

The second prominent contemporary reimagining of Charles Dickens’ supernatural fable appeared 34 years after Scrooged and is pretty shy on everything that appealed about Richard Donner’s film.

Advertising hotshot Clint Briggs (Ryan Reynolds) is the latest target for the Ghost of Christmas Present (Will Ferrell) to save from themselves, despite his soul being branded “irredeemable”.

If you’re going to quip about “all the other adaptations nobody asked for” in your film, you’ve really got to make sure yours delivers on its own terms. Spirited doesn’t.

New elements introduced in this version include the reason that the towering, hooded Christmas Yet to Come (voiced sporadically by Tracy Morgan) doesn’t talk is because he gets stage fright whenever it’s his line, and Christmas Past (Sunita Mani) has sex with the Scrooge stand-in because “it’s been a while” for her. Ha-ha.

“Now you’re going full Dickens on me?” Spirited ineffectually folds the Dickens story back in on itself and adds an unnecessary extra plot twist to it to stave off the boredom.

It’s also an original musical, for better and worse. You get one funny song (the so-bad-it’s-good bad cockney-accented Victorian musical number “Good Afternoon”) and one lovely one (a tender duet between Present and Octavia Spencer’s Kimberly, “The View from Here”), but generally the music sucks. At least the dance numbers are pretty energetic.

Spirited just doesn’t work on any compelling level, smothering the natural charisma of its two stars and Octavia Spencer, and dragging on its runtime to an annoying degree with witless humour and mostly lacklustre musicality.

8. Scrooge: A Christmas Carol (2022)

Netflix’s animated version of A Christmas Carol is actually a loose remake of the 1970 Albert Finney musical Scrooge, but this time starring an actor who can actually sing.

Jacob Marley’s wintry entrance scene and ominous warning to Scrooge is well done and easily the most imaginative sequence in the film, but all too often the visuals (particularly how the human characters are realised) seem more good-enough kids TV quality or overwhelmed by too many admittedly impressive environmental effects.

There are a couple of decent one-liners here, like Scrooge puzzling over the reality of his situation with “My dreams are never this… exciting” and commenting in surprise to the Ghost of Christmas Yet to Come “You don’t speak? Your colleagues are really rather fond of speaking”.

The ghosts all receive pretty creative re-designs, with Marley (Jonathan Pryce) looking like a creature from Elsa’s ice palace in Frozen, Christmas Past (Olivia Colman) portrayed carrying a candle made entirely of wax, and Christmas Present (Trevor Dion Nicholas) looking and acting like Santa if he appeared as a guest on ‘Drag Race’.

Everyone knows Luke Evans can belt out showtunes in his sleep, and he equips himself admirably here, especially in a nice duet with Jesse Buckley, even if you’d struggle to hum along to many of these songs by the time the credits roll (except the two best ones lifted from the Finney film, “I Like Life” and “Thank You Very Much”).

The voice talent filling out the ensemble is impressive and little ones will probably quite like it because it’s colourful, not too scary and there’s a bit where a dog farts on Scrooge’s face. Scrooge: A Christmas Carol is just about passable, but you will want to watch a more inspired version of this timeless story in short order.

In this Movie List from The Film Magazine, we are counting down the 5 Best Christmas Films with Happy Endings; films that define our human and Christmas spirit.

Follow @thefilmagazine on Twitter.

1. It’s a Wonderful Life

It’s a Wonderful Life Review

Frank Capra’s 1946 film It’s a Wonderful Life tells the story of George Bailey; an everyman from Bedford Falls who is contemplating suicide on Christmas Eve to overcome financial difficulties for his small buildings and loans company. The film is predominantly told in flashback as we see the totality of George’s life, from his being a youngster on the ice in winter-time through to him stood on a bridge staring into the abyss at Christmas. A guardian angel by the name of Clarence comes down to show George what a gift he has been to the people in the town, and shows him a dark alternative world that would have resulted had he never been born.

George learns that family and friends are perhaps the most important aspect of not just his but anybody’s life – as the card from Clarence notes ‘No man is a failure if he has friends’. The film’s climax at the Bailey household finds George redeemed and reborn, full of mirth and joy, as he is surrounded by his wife Mary (Donna Reed) and a town full of benevolent friends. The cathartic release of the film’s finale helps George to prioritise family above money, love above ambition; these lessons are universal and explain the annual appeal of the film. As they sing ‘Auld Lang Syne’ in unison at film’s end, the message is clear that It’s a Wonderful Life is about friendship.

Much like George, the film gained a second chance in the 1970s when it was shown repeatedly on television in the United States; the message of unity through family and only knowing what you have once it’s gone speaks to us all, this masterpiece remaining iconic and beloved to filmgoers old and new year upon year.

Recommended for you: It’s a Wonderful Life – The Truest of Christmas Films

2. White Christmas

Directed by Michael Curtiz (Casablanca), White Christmas (based upon Irving Berlin’s hit single) stars Bing Crosby and Danny Kaye as Bob Wallace and Phil Davis – army buddies who post-WW2 go into showbusiness together. Over the Christmas holidays, they happen upon a holiday resort that is run by their former Major in command (Dean Jagger) and has fallen on hard times. With the help of sisters Rosemary Clooney and Vera-Ellen they enlist their show to help the inn return to its former glory.

While Crosby does charm his way through the film, the star of the show is Kaye. As the buffoonish Davis, Kaye does wonders with a sidekick role and has the best dance number in “The Best Things Happen When You’re Dancing”. It’s feel-good filmmaking for the soul.

The ending is wonderful in that the whole platoon from the start of the film returns to pay homage and honour the service record of their former leader. All the soldiers appearing in uniform to respect their commander means more to him than anything else – a show of solidarity and brotherhood you could only find in the military. Then the film concludes with a rendition of the famous titular song by all the cast as snow descends upon the Vermont location. The magic of Hollywood.

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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To begin on a positive note, my favourite element of this adaption is the way in which it is framed – the Great Gonzo is playing Charles Dickens; he and Rizzo the Rat take us through the story, not only telling us what happens but making things happen (Gonzo tells us that Scrooge will come around the corner, and there he is). This is played with the Muppets’ signature all-knowing wink. Rizzo and Gonzo give great comic relief that is needed when watching this in a year such as ours. A particular favourite moment of mine is Rizzo climbing a fence to get to Scrooge’s house when he can fit through the bars. Gonzo and Rizzo provide us with information without it being condescending, giving context to the story: ‘Charles Dickens was a 19^th century novelist, a genius’. Gonzo also tells us all to go read the book at the end. How many other movies bother to do that?

Here’s what is hard to watch in 2019…

The things that Scrooge do to make him mean are not awful 19^th century deeds, but universally selfish and cruel things. We are told (through a helpful song) that ‘Old scrooge he loves his money because he thinks it gives him power’. This brings to mind a lot of people in our current society, not least prominent public figures and owners of multi-billion dollar corporations. One example of his evilness is that ‘He charges folks a fortune for his dark and drafty houses’. This shouldn’t be as relevant as it is today. I should be able to say “aren’t things so much better now? Thank God this is the past”. Alas, it is not, and there are people like Scrooge living today; people who benefit from the suffering of others.

Scrooge has no heart for charity, no kindness at all. His taxes pay for prisons and workhouses so the poor, in his eyes at least, should just go there. He has no sympathy for those who cannot pay their mortgages due to medical bills (thank god for the NHS – a staple of the UK that we at least have for now). Scrooge suggests that people are wasting their mortgage money on ‘frivolities’ which rings painfully true of some people’s attitudes today. Poor people are seen as criminal or ‘idle’. Scrooge does not even want his workers to be warm, which does lead to my favourite joke: the bookkeeping rats singing ‘This is my island in the sun’. Suffer in silence, be glad for what you have!

Now of course, the film is not all doom and gloom. Kermit (As Bob) attempts to bring some joy with ‘only one more sleep till Christmas’ after acting as union leader and getting his colleagues the day off. This scene is lovely, and I have to take a moment to appreciate the puppetry. Also, the joy of watching rats trying close blinds is enough to light up any dreary mid-winter evening.

We then get to the meat of the story.

Scrooge is visited by his old friends Marley and Marley who tell him that he will be visited by three ghosts of Christmas to help him see the errors of his mean ways.

The first ghost is the ghost of Christmas past, who is very creepy. We see Scrooge’s past and learn that he was a bit of a loner as kid, but as I am mad at him because of how he treats people in the present, I refuse to feel sorry for him just because he was a lonely little boy – why are so many evil men offered redemption through “tragic” backstories? Maybe don’t just sit and do extra homework – you might make some friends and learn some compassion and empathy. We are told that Scrooge is the ‘finest financial mind in the country’ by Sam the Eagle, then we learn that he isn’t making enough money to marry his sweetheart – so which is it? Scrooge asks the ghost ‘Why do you delight in torturing me?’ and all I can think is: because you are evil mate!

This is where we are exposed to “When Love is Gone”, which is a Michael Caine performed love song to the one that got away. This did not appear in the original theatrical release but was in the 1993 VHS version of my childhood. If you haven’t seen the version with this song in (ie, if you are not old like me) make sure to check it out.

Now, here is where the fun starts. The Ghost of Christmas present is a fun guy and I want him in my life. He shows Scrooge the family party that he refuses to go to every year. I also don’t feel sorry for him when his family are mean about him, and I really did when I was little because I love Micheal Caine, but; you know what Scrooge? You deserve people to think you are an ‘unwanted animal’.

We then visit the Cratchit household, which is a place of wonder. Bob (portrayed by Kermit) and his wife Emily (portrayed by Miss Piggy) bring the beloved Kermit and Piggy dynamic to the classic tale. The family drink to Scrooge as the founder of the feast (though Scrooge has just pointed out how said feast is very small). Miss Piggy is the voice of reason (me) here and is super sassy about how horrible Scrooge is and we should not settle for the little that he gives.

Tiny Tim is the character we should all hope to be, because he is grateful for have what he has, which is nothing. He sings a lovely song about being graceful, which of course makes Scrooge feel very bad. This feels very much like thanksgiving, or at least how I imagine thanksgiving to be because a British Christmas is much more drunk and angry.

Scrooge is then visited by the ghost of Christmas future. Scrooge is now starting to understand the error of his ways, that he has the power to change lives, particularly that of Tiny Tim. He realises: ‘A life can be made right’… I’m looking at you Boris – you too can change your future by being a better person. Scrooge wakes up, realises it’s Christmas and decides to buy the biggest Christmas turkey for the Cratchits. Scrooge promises to share the wealth, giving Bob a pay rise and giving money to charity. Everything is wonderful because Scrooge is living his life in pursuit of helping others, and everyone is happy!

Having seen the Christmas classic It’s A Wonderful Life in the interim of my most recent rewatches of The Muppet Christmas Carol, I did not get hit with the same emotional punch from this puppeted adaptation as I thought I would. Maybe it’s because I’m cynical and refuse to believe that Scrooge will change; but then maybe I only think that because people like him still exist over 100 years later? In all honesty, 2019 is probably the wrong year for any adaptation of “A Christmas Carol”, especially when not even the great Kermit the Frog can lighten the darkness enveloping our society.

In this list, the latest in The Film Magazine’s 5 of the Best Character Introductions series, I’ll be offering my selections for the 5 best character introductions in movie history…

1. Rufus T. Firefly

Duck Soup (1933)

The plot of the Marx Brothers’ movies are consistently bizarre but only really serve as the vehicle for slapstick antics or devastating jabs and insults. All their cinematic efforts are distinctly “Marxist” but the brothers still manage to keep their films fresh. In Duck Soup, this approach resulted in one of cinema’s greatest ever entrances…

The wealthy and influential Mrs Teasdale agrees to help out the tiny nation of Freedonia with her inexhaustible funds, but only on the condition that Statesman Rufus T. Firefly is appointed as the new leader. His reception is a great affair with ambassadors and representatives from all over the world, and excited chatter paints the image of a noble man of decorum and decency. Ballerina flower girls litter his intended path with petals and decorated soldiers draw their swords to form a glorious steely arch to the thunderous notes of the Freedonia National Anthem… but his “punctual” excellency doesn’t turn up.

Only after the third reprise of “Hail, Hail Freedonia” does Rufus (Groucho Marx) leap out of bed in a baggy, crumpled suit and sneaks into the reception via a conveniently placed fireman’s pole – drawing his cigar alongside the solidiers after his query of “Are you expecting someone?”

It’s such a silly joke with way too much effort put forward to land it, but the timing is perfect. It sets the tone for a 68-minute long scathing political satire and solidifies Groucho’s place as the head of the troupe and as cinema’s greatest and most beloved bastard – his ridicule of pomp and circumstance is often imitated but never bested.

2. Ebeneezer Scrooge

The Muppet Christmas Carol (1992)

When Charles Dickens’ festive novel’s most memorable adaption stars furry Muppet creatures, it’s certainly a weird universe we live in. As strange as it sounds, it’s absolutely true: The Muppet Christmas Carol is one of the most popular Christmas movies and greatest book adaptions of all time.

Much of the film’s success can be owed to Michael Caine’s stellar performance as the main character Ebeneezer Scrooge, who receives one of The Muppets’ most memorable musical numbers as his introduction. The scene is set with a sweeping shot of a snowy Victorian London and Charles Dickens himself (well, in the incarnation of Great Gonzo) begins the story with lines straight from his novel:

“The Marley(‘s) were dead to begin with”

Spines now tingled, pangs of anxiety are induced within the audience as Dickens announces Scrooge’s imminent arrival:

“You will meet him as he comes round that corner.”
“Where?”
“There?”
“When?”
“Now!”

Ebeneezer Scrooge appears cloaked in darkness and ice…. holy crap!

With this being a Muppet flick, the resulting number “Scrooge” is full of gags and fourth wall breaks; typical of Jim Henson’s patented light entertainment. The song is incredibly catchy and the most memorable from the whole movie, but this is more than a mere diss track. Heavy hitting lyrics combine with Scrooge’s arrogant shoves past the Muppet cavalcade to establishe the man as a cold, greedy and utterly irredeemable character. Finished off with Caine’s characteristic hard stare, Scrooge chills the blood.

The genius of pairing Caine’s straight performance with Muppet madness creates an adaption which boasts the most believable transformation of literature’s most famous miser to a genial grandfather figure. For certain generations, Caine will forever be immortalised by his pimp walk in the snow.

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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.