The reviews lean warm, and none rejects the film outright. Most critics take it as a broad, energetic, deliberately silly musical that works on its own cartoonish terms, and the praise gathers around Ellen Greene’s strange, magnetic Audrey, the witty songs, and the ever-growing plant, which one critic counts among the great screen villains. Steve Martin’s scenes are picked out as a highlight even in the cooler notices.
The reservations are about staginess. Variety finds the move from stage to screen reluctant and the result fractured, and Empire thinks the musical numbers drag in places; Pauline Kael notes some stiffness and mechanical-looking effects, and Eye for Film calls it formulaic while enjoying it anyway. The spread is wide, from mixed to enthusiastic, and it splits by date: the warmest reviews come from Slant and Collider, assessing the restored director’s cut with its darker original ending, which both admire.
