Little Shop of Horrors (1986)

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

One of my all time favorites.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

It's rather appropriate to think that a show now almost unavoidably supersaturated in contemporary pop culture – from a crooning Jake Gyllenhaal, covers of "Suddenly Seymour" on every TV Broadway allusion from Glee to Carpool Karaoke, and performances popping up like alien spores in high school drama classes across the planet – found its humble beginnings in a surprisingly fun, cheapo 1960s Roger Corman horror comedy that knew to sell its scares with a wink and a healthy slathering of camp. Frank Oz's 1986 movie musical mitigates the gap well, pairing its jaunty, infectiously catchy tunes with appropriately grungy production values that lends the film the veneer of a top notch production taking place in a discount college set. And, despite this inherent imbalance making for a somewhat uneven watch, Oz's Little Shop of Horrors oozes plucky charm, ensuring that while it may not be the most memorable or definitively told movie musical of its era, its inherent entertainment factor certainly stands the test of time. Playing as an incrementally less tongue-in-cheek Rocky Horror Picture Show, 'cheerily clumsy' is the most apt description of Oz's foray into the movie musical genre. He nails the '60s doo-wop goofiness, keeping things playful by gleefully interrupting as many intentionally flat 'gee-whiz' dialogue exchanges with interjections from the 'Greek chorus' of narratorial singers, replete with as many spotlights and sequins as possible. The pacing is noticeably ramshackle, amiably lumbering between plot points with the dopey delirium of a tipsy Bill Murray, while Oz's staging of composer Alan Menken's eminently hummable tunes verges from perverse genius (a chorus of Steve Martin's dentist song shot from the inside of a patient's mouth) to forgettably silly filler (contextual ballad "Skid Row" is particularly tedious and extraneous thanks to Oz's curiously lugubrious, solemn staging). Still, Oz's cabal of cameos from virtually every famous face in '80s comedy (John Candy, Christopher Guest, Jim Belushi – you name it!) indisputably help punch up some of the narrative's laggier moments, even as his take on the media furor surrounding protagonist Seymour's botanical blowout is a bit too toothless (pun intended) to properly stick. It's mostly in terms of the film's dalliances into more serious content where Oz runs into trouble. In particular, in tackling the subplot involving romantic interest Audrey's domestic violence, Oz seems uncertain whether to fully invest in the pitch black satire of Alan Menken's lyrics or sell it as straight drama, and ending up with a tone that verges on worrisome flippancy. Similarly, the (purportedly studio hard-sold) populist Hollywood rewrite of the show's cheerfully macabre ending is a disappointingly false, gormless misfire - the rare happy ending liable to leave audiences feeling both unhappy and cheated. Still, Oz's Muppets tenure pays off in spades in terms of selling the film's central special effect – the Audrey II puppet looks absolutely spectacular, with each sinew, root, and tooth phenomenally detailed, hitting the perfect blend of silly and disturbing (accentuated by the perfectly sassy performance by the wonderful Levi Stubbs), and moving with almost unnerving credibility, particularly when imperceptibly growing to astronomical size. It's almost offensive to think of a contemporary remake inevitably embodying Audrey II with CGI, particularly when Oz's efforts show just how hilarious and terrifying proper practical effects can be. Rick Moranis, in the height of his 'weebly, lovable nerd' heyday, is perfectly cast as neurotic schlub with a heart of gold Seymour. He exemplifies Seymour's hapless misfortunes without straying into whiny self-indulgence, while ensuring his turn for the heroic in the film's second half is still tempered with enough ineptitude to ensure he remains sympathetic. Similarly, Ellen Greene keeps enough of a twinkle in her eye to ensure that her shrill Audrey lands as more than a coquettish stereotype, while (the stupendously appropriately named) Vincent Gardenia rumbles with appropriate bossy bluster as shop owner Mushnik. Still, the honours for indisputable show-stealing performance fall upon Steve Martin, almost as terrifying as he is unspeakably funny as the sadistic, gas-huffing dentist, whose note-perfect Elvis swagger only makes him all the more exquisitely unhinged. Throw in a side-splitting cameo from an orgasmically moaning Bill Murray as his obsessively masochistic patient (even outdoing the hilarity of cinematic predecessor Jack Nicholson from the 1960 film)? Comedic perfection. Ultimately, Little Shop of Horrors' tentativeness in fully committing to its inherent kitsch or bizarre darkness may serve as further credence that some Broadway musicals are always fated to fare better staying on Broadway. But it's hardly an epitaph, as the film's triple threat of dream cast, catchy tunes and Oz's cheeky, charming telling more than earn its keep in audience hearts even amidst its glut of theatrical reincarnations. It may not be the most memorable or sharply told musical of its time, but any film audacious enough to play Steve Martin torturing a child with a drill while sashaying around like a cross between Chuck Berry and Daffy Duck for laughs is always worth rooting for. Groan. -7/10

Originally reviewed on Letterboxd on 14th August 2016.AT LONG LAST. WATCHING THE DIRECTOR'S CUT AS EVERYBODY SHOULD AS WELL.An wonderful musical with a wonderful cast. And it feels so much more emotional and complete with the original ending. There's need to be pain in this musical and the alternate ending feels so much forced. Proves the general public is scared and is also scared of real emotion in films like Suicide Squad although we don't know for certain if deleted scenes will make that stupid film better. Thing is though, the filmmakers were so lucky that there got very positive reviews from critics (90% on RT) even though there was always the risk of huge audiences watching the original musical and saying that the original ending was better. But the thing with either the original ending or the alternative, it was funny and emotional, the cast was great, no matter which version you've watched although the original ending will always stand superior in its lengthy finale and its creativity. Ellen Greene, I'll only love your Audrey.

The grown up Seymore and a woman, Audrey (Ellen Greene), who also works at the flower shop, have secret infatuations with each other. Audrey is in a vituperative relationship with a reckless dentist. Mushnik's flower shop on Skid Row has very lousy business and Mushnik thinks about closing down the shop. As a last resort, Audrey suggests putting in the window some of the exotic plants Seymore has been working on. Seymore brings Mushnik a little plant, called Audrey II, he bought in the plant market during the total eclipse of the sun. He discovers the plant only eats blood. The plant strives and brings the flower shop plenty of business. As the carnivorous plant grows, certain members in the town go missing, one-by-one.I feel like the director's intent for this movie is to explain that enemies can come from anywhere. Enemies surface in the most unlikely and seemingly innocent of places. Deadly threats can be anyone or anything. Seymore finds an amazing plant and once it starts making him rich and famous, he gets carried away with the wealth and popularity. When he realized he needed to take command of the situation, he began fighting for his survival. The musical portions add more emotion to the movie. The setting portrays the time period the action took place in extremely well. The animation of Audrey II, the carnivorous plant from outer space, was done amazingly. It looked pretty realistic. The lip-synching performance given by the plant was life-like as well as entertaining. I also admire the random irony thrown in throughout the film. Although, one thing I believe could make this movie more unpredictable would be if they didn't foreshadow as much in the opening scene. Overall, I personally enjoyed this film.

Don't listen to all the bad press. This movie is highly underrated. I checked it out of the library, expecting a few laughs and maybe a few memorable songs. What I got is one of my favorite musicals ever!The set design is flawless. Specifically, the set's centerpiece, Audrey II, is jaw-droppingly realistic (as well as wonderfully voice by Levi Stubbs).The acting is perfection. Rick Moranis is a complete surprise - he is a powerhouse of vocal stamina. Ellen Greene gets a lot of criticism because she's "annoying", but I thought her simple approach to the character was very well realized, and she brought a unique depth to the character by being simple and blonde, like Marilyn Monroe. The guest performances are uproarious. Who new Steve Martin could sing? And Bill Murray's cameo as a masochistic dentist patient is gut-busting. The songs are fantastic. Menken and Ashman are already well-known for their work in LITTLE MERMAID, ALADDIN, and BEAUTY & THE BEAST, and this musical goes in the same vein. Worth a watch, I want to own it! See it - you will not be disappointed!