“Its refusal to behave is the point.”
The strange choices create the kind of friction that follows you out of the theatre and into the argument.

Little Shop of Horrors
Horror · Comedy · 1986
Seymour Krelborn is a nerdy orphan working at Mushnik's; a flower shop in urban Skid Row. He harbors a crush on fellow co-worker, Audrey Fulquard, and is berated by Mr. Mushnik daily. One day, Seymour finds a very mysterious unidentified plant which he calls Audrey II. The plant seems to have a craving for blood and soon begins to sing for it’s supper.
Little Shop of Horrors
“A singing plant. A daring hero. A sweet girl. A demented dentist. It's the most outrageous musical comedy in years.”
Critical arithmetic
One number, for now.
Scores change. Arguments endure.
TMDB
7.0 / 10
Community rating
Seymour Krelborn is a nerdy orphan working at Mushnik's; a flower shop in urban Skid Row. He harbors a crush on fellow co-worker, Audrey Fulquard, and is berated by Mr. Mushnik daily. One day, Seymour finds a very mysterious unidentified plant which he calls Audrey II. The plant seems to have a craving for blood and soon begins to sing for it’s supper.
What this film says about your taste.
Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.
The archetype split
Who fights over Little Shop of Horrors?
The Arthouse Gremlin
“The stranger, the better.”
Read their caseThe Popcorn Loyalist
“Big screen, big feelings, no apologies.”
Read their objectionThe split comes from the same five-axis model used by the test, not audience ratings or review sentiment.
Nearby on the taste map.
TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.
Watch in your region.
Cinema release signals and current streaming, rental, and purchase options for your region.
Streaming availability data supplied by JustWatch.
The people responsible.
Cast & crew
Directed by
Frank Oz
Written by
Howard Ashman
Put Little Shop of Horrors on trial.
Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.
“Oddness is not depth.”
A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.






