I honestly don't see why fans aren't seeing this as a better film than the last one. I mean, the last one was very good, and before this film, my favorite of the post-Jim films... just knocking on the door of as good as the originals. This film didn't just feel more like a Muppet Movie... it felt more like a movie. Yet, it feels like only a handful of Muppet fans really get that.
Hey, it's all subjective. I'm surprised I haven't been fired off this forum for listing MFS above TMTM and MCC in my personal Muppet movie rankings.
As I said, MMW isn't far behind TM2011 in my books - the two occasionally wind up tied, depending on my mood. And MMW has it all over TM2011 in several key areas (balancing Muppets with humans, humour content, better use of music and outright rejection of the last movie's non-Muppet '80s chestnuts, pacing/visuals, edge).
But there are a few things that guide me towards TM2011:
(1) Walter's Muppet fandom spoke directly to people like me, especially when he was ridiculed for wearing a Kermit Hallowe'en costume. I was bullied on the schoolyard in Grade 5 for wearing a Kermit backpack, so that all hit home.
(2) More singing and a more prominent role for Kermit - even if he was a little more morose at first - in TM2011. (By contrast, Constantine gets two of the first three MMW musical numbers, even though he obviously scores on both of them.)
(3) The wonderful deconstruction (and reconstruction) of the TMS vibe. It's certainly there in MMW but it takes centre stage in TM2011.
(4) A sunnier overall feel to the movie (embodied by "Life's A Happy Song," even in its cheekier moments).
(5) The depth and pathos added to the Kermit-Piggy relationship (again, it's there in MMW but I think TM2011 went farther in insisting that the characters act like adults, especially Kermit).
(6) No "Man or Muppet" moment in MMW. That's not as much a commentary on the song (which is, lyrically, not so great) as a reflection on the presentation, which parodied overblown power ballads, had the great Surprise Guest Star, and fit with the identity-crisis theme for Walter and Gary. ("Something So Right" comes close in this respect.)
(7) "A celebrity is not a people": Better displayed (if only slightly) by Jack Black in TM2011 than Ricky Gervais in MMW.
(8) Relatable running commentary on how modern pop culture allegedly doesn't have room for the Muppets (or anything not dumbed-down, foul-mouthed or needlessly violent) anymore.
(9) The surprisingly compelling subplot for Animal, which ends when he returns to the drum kit during "Rainbow Connection," followed by that gorgeous camera pull-back showing all the Muppets singing it together. (Seriously, I picture Jim Henson and Walt Disney shaking hands in heaven every time I see that scene.)
Not trying to dismiss what's been accomplished by MMW - or how much I enjoy it and will continue to enjoy it - but I have my reasons for giving TM2011 an edge. (However slight.) To misquote Constantine: "I'm Number One, You're Number One-and-a-Half."