It’s difficult to imagine “The Muppets” as anything but enjoyable, and this time, Disney does something right. This is why fond memories of pop culture icons exist. Jim Henson (God rest his soul) was a master of storytelling on par with Dr. Seuss, and the latest Muppets film is worthy of the long tradition of which it’s now a part.

Kermit the Frog is joined by Mary (Amy Adams), Gary (Jason Segel) and the whole gang of familiar characters as they search for a way to save the day in “The Muppets”. (photo by Patrick Wymore ©Disney Enterprises, Inc. All Rights Reserved.)

Oil tycoon Tex Richman (Chris Cooper) is on the verge of tearing down the Muppet Theater (which looks almost identical to the El Capitan from the outside…especially next to a large “Jimmy Kimmel Live” sign) unless the Muppets can raise $10 million in one telethon performance. One small problem: NBC, Fox and all the other networks won’t take a chance with 57-year-old puppets. In an age where shows are let go like temporary workers, how can puppets stand a chance against cartoons or, even worse, digital animation? But with some luck and the help of the Muppets’ biggest fans — Gary (Jason Segel), Mary (Amy Adams) and Walter (voiced by Peter Linz), who looks just like the other Muppets (probably just a coincidence) — the gang just might stand a chance, though a one-week deadline is working against them.

The Muppets, however, have moved on. Gonzo (voiced by Dave Goelz) has a successful business. Fozzie Bear runs the comedy circuit in Reno, and Miss Piggy (voiced by Eric Jacobson) is off in Paris, far from her former love, Kermit (voiced by Steve Whitmire). We don’t know how, but love went awry. If only they could patch things up and get back to flirting, and Miss Piggy continually flattening “Kermie” when she practices dance moves with him. But after a cinematic montage and an ‘80s robot (voiced by Matt Vogel), the gang gets back together to face a greater problem: finding a celebrity host willing to support the Muppets who are still “film worthy”. After all, once you leave the game for a few years, Hollywood passes you by.

It’s overwhelming to think about the amount of effort that went into making this film possible. An unlikely script by Jason Segel and Nicholas Stollar (known more for crass comedies like “Forgetting Sarah Marshall” and “Get Him to the Greek” than a children’s film), and direction by James Bobin (director of the musical comedy series “The Flight of the Conchords”), with new music by fellow “Conchords” star Bret McKenzie, make for something hysterical, quirky and surprisingly age appropriate. They even provide some unique remakes of classic songs, like a barbershop version of Nirvana’s “Smells Like Teen Spirit” and a bunch of chickens squawking Cee Lo’s “Forget You”.

For those who saw “Forgetting Sarah Marshall”, Segel’s love for puppets is clear (when you write an entire puppet musical about Dracula and then add it to your first film screenplay, you’ve gotta be serious), and the joy and fun is just as transparent in his screenplay and performance in “The Muppets”. Channeling Giselle from “Enchanted”, Adams knows how to vocally lead a show as well. Cooper also plays the caricatured villain superbly, topping on his performance by saying, “maniacal laugh,” rather than actually laughing.

Now, let’s talk about the heroic performers who go unseen: Whitmire, Eric Jacobson, Goelz, Bill Barretta, David Rudman and Matt Vogel. In the wake of Henson, these audible ninjas aren’t mere replacements — generic copies — but the natural progression of any homage.

While the film questions whether a bunch of psychedelic puppets are still relevant in the age of Lightning McQueen and SpongeBob, the 20 plus cameos alone prove otherwise (don’t ask me who, just go enjoy all the celebrities who want a piece of the Muppet pie). But this isn’t just one big nostalgia trip. Of course, half the jokes are only funny if you know the characters, like Animal’s (Jacobson) anger management and lack of control around drums, but there are plenty one-liners and gags that succeed without requiring our pre-knowledge.

This one could’ve been a disaster, and I have to admit there are some cheesy moments, but “The Muppets” shamelessly owns its self-referential nature. How else can Cooper break into a rap song, or every other character make a self-aware comment about being in a film?

From epic musical numbers and Muppets in their most mobile form to date, “The Muppets” is a wonderfully simple and enjoyable popcorn time that speaks to the many generations who grew up with Kermit and the gang, as well as more generations to come.