At this point in pop-culture time, you'd be forgiven if your reaction to the resurrection of a beloved institution like "The Muppets" were one of suspicious cynicism, topped with a dollop of disgust. You might assume, understandably, that the studio suits were greedily banking on the mix of nostalgia and ego that usually incites parents to shell out their dwindling disposable income in hopes of sharing their childhood entertainments with their own kids. Even "The Muppet Movie" acknowledges that the felt-and-thread simplicity of its stars may no longer have a place in this flashy digital world.

"You guys are no longer relevant," Rashida Jones' TV executive tells Kermit the frog, et al., who then spend the rest of "The Muppet Movie" demonstrating that sincerity, humor, and heart will never go out of style.

A dizzying blend of genres, including road movie, coming-of-age tale, one-last-job flick, and let's-put-on-a-show musical, "The Muppet Movie" proudly wears its low-fi history on its sleeve even as it makes things a bit more hip. Before we cross paths with the Muppets that we know and love, however, we are introduced to the newest one, Walter. Living with his brother Gary (co-writer Jason Segel) in idyllic Smalltown, Walter became a huge Muppet fan after seeing their primetime show and noticing that they shared a similar genetic predisposition toward fixed tongues and googly eyes. Walter jumps at the chance to meet his idols when Gary invites him on his vacation to Los Angeles with girlfriend Mary (Amy Adams, in sweetheart "Enchanted" mode) to celebrate their 10th anniversary.

It's after a visit to the now-decrepit Muppet Studios that Walter overhears how dastardly tycoon Tex Richman (Oscar winner Chris Cooper can now add "rapper" to his resume) is planning to buy the property and drill for oil (yes, in the middle of LA), sending the determined Walter on a mad scramble to assemble the far-flung Muppets for a fundraiser to save the Muppet Theatre. But does anyone besides Walter care enough to work for the survival of the Muppets? That's the meta-question asked both by and in the film, which confronts the age-old decision between hanging on and letting go. That thematic choice becomes germane to Walter as well, who loves his brother but feels equally at home with these creatures who look just like him.

Cameos abound, like Foo Fighter Dave Grohl as the fake Animal in the Muppet tribute band, as do production numbers, catchy like a typical Muppet tune yet with that goofily self-referential Segel touch. (The clever "Party of One," a sort of duet between Adams and Miss Piggy, should become a girl-power disco anthem.) You may remember that Segel's script for the wonderful "Forgetting Sarah Marshall" hinged on his character's dream to mount a vampire puppet musical; that's probably why "The Muppet Movie" feels as though it's in the right, respectful hands, be it a kickstart for future adventures or a fittingly sweet swan song. The money, as always, will decide the Muppets' fate.