The Goonies

The Goonies has a rich and indomitable air of all-American innocence. Read full review

A rolicking good time is had by all in this adventure that is built on archetypal plot strands that tie together oh so well. Read full review

It has crooks, bats, cobwebs, skeletons, a lovable monster, an underground grotto and a treasure hidden by some of the most considerate, clue-loving pirates who ever lived. Their ghostly ship is the movie's piece de resistance. Read full review

The Goonies, like Gremlins, shows that Spielberg and his directors are absolute masters of how to excite and involve an audience. "E.T." was more like "Close Encounters"; it didn't simply want us to feel, but also to wonder, and to dream. Read full review

But, fittingly, it's the kids who carry this outing. They're led by Sean Astin, who's rightly more of a dreamer than the others. Jeff B. Cohen engagingly handles the most cliched role, the fat kid who keeps stuffing his face. And I couldn't help wondering if Ke Huy Quan, who played Indy's sidekick in the Temple of Doom, knows that not all movies are made in caves. In any case, you can relax. The Goonies is entertaining despite its calculated flavor. [7 Jun 1985, p.61]

As entertaining as The Goonies finally becomes--and its last hour is mostly one pleasure after another--it's a shame that Spielberg, writer Chris Columbus and director Richard Donner felt the need to take the low road in terms of language. [7 Jun 1985, p.A]

The movie remains an embodiment of Spielberg's commercially cunning brand of clankingly retro filmmaking, despite the wit and charm brought to their Spiel-speak dialogue by the talented young performers, The Goonies is less a movie than an entertainment machine. [7 Jun 1985, p.E1]

The action at the center of Chris Columbus' script occasionally falters and generally feels manufactured, but the kids go about their chores as if convinced that all their make-believe is true. Read full review

Though obviously aimed at a younger audience, The Goonies is packed with four-letter words. Sure kids speak like that, but writer Chris Columbus and director Richard Donner rely on obscenities as a substitution for clever punch lines, tossing in a few sex jokes and a touch of racist humor as well. Read full review