虽然《七宝奇谋》在1985年上映，但在今天它仍然会被人讨论。它披着奇幻冒险故事的外壳，表现出那个年代（和这个年代）人们对幸福生活的定义和渴望。

一切冒险的开端是主人公的房子即将被抵押（猜测，电影中未明说），几个小伙伴聚在一起度过最后的“七宝时光”。过了那一天，大家将各奔东西。因此，尽管电影中包袱不断在欢乐的表面下依然时不时地涌动悲伤。

最后，主人公靠冒险得来的宝石让爸爸还清贷款，小伙伴们终于能够在未来继续待在一起生活。七宝中被人嫌弃的小胖最终和懒鬼成为挚友和家人。前期面目可怖的懒鬼在电影的后半段如超人一般拯救主角们于水火之中。这部电影认为那些被排挤的人也有潜力放射出光芒。只要给予他们一个机会，他们绝对会为所爱之人挺身而出。

主人公们其实根本不想要独眼威利的宝物本身，他们要的是能用宝物换来的幸福生活。反观那些一心贪财，而不是渴望家人快乐，朋友团聚的villain，最终进了监狱。在那个时代（这个时代或许也一样），金钱是限制人获得幸福生活的一个重要因素。在现实生活中，七宝不会冒险，不会得到宝石，不会和爱的人在一起。

或许每个人心中都有一个地方 藏匿着独眼威利的宝物和自我对他人的爱。

From the ’80’s nostalgic arcade, Richard Donner’s THE GOONIES is scripted by Chris Columbus from Steven Spielberg’s story, who also moonlights as its hands-on producer, so, a juvenile iteration of Indian Jones-esque treasure-hunting adventure is close to the mark, and it is also the main influence of the Duffer brothers’ Netflix hit show STRANGER THINGS (2016-).

After a rumbustious opening to corral the “Goonies” together - a coinage by the school-aged Mikey (Astin), whose members also include Chunk (Cohen), Mouth (Feldman), and Data (Quan), respectively impersonating the stock characters of “the chump”, “the (bilingual) motormouth” and “the (gizmo) geek”, whereas Mikey shows goodly mettle as its leader, an ancient map is serendipitously discovered in Mikey’s family attic, which instigates his intent on seeking out the hidden treasures left by legendary pirate “One-Eyed” Willy centuries earlier, and it is also conveniently imperative because this seems to be the last chance to save their homes from the impending foreclosure, which is due the next week.

The Goonies’ weekend journey is soon joined by Mikey’s elder brother Brand (Brolin), cheerleader Andy (Green) and her wallflower friend Stef (Plimpton), after they infiltrate into a coast-side derelict restaurant which also serves as the lair of the Fratelli crime family, a secret tunnel in the basement will in time lead them to the whereabout of the treasures galore, with the Fratellis closing in on them and a few booby traps to impede their pursuance.

Persisting a white-knuckled pace from A to Z, THE GOONIES is fully aware of its ingrown ludicrousness and inconsistency that it cannot risk losing its momentum of thrills and chills, and on this regard, it has done a remarkable job, also, as a family-friendly fare, it doesn’t necessarily steer away from the macabre, craniums and skeletons are constant scream-inducing props and a deformed strongman-bozo in the shape of Sloth (Matuszak) gives this reviewer quite a startle at first, however, the story shows its well-intentioned felicity to bring a heartwarming twist to defy our preconception about monstrosity.

The young cast’s performance is uniformly engaging and occasionally hilarious, Astin is especially earnest and precociously sagacious in his screen debut (no wonder he created such a hoopla by guest-starring in the second season of STRANGER THINGS), Feldman cunningly exhibits a savvy aptitude that makes an impressive entrance but is mostly underutilized when the cat-and-mouse chase begins, but it is Cohen who is saddled with the most grueling task of acting in the face of incessant grotesque, hectoring and menace, which he pulls it off magnificently without losing his funny bone.

Grownups have less meatier parts to play, save for Anne Ramsey, as the formidable Mama Fratelli, she huffs and puffs imperiously towards her two nebbish sons (Davi and Pantoliano), a soupçon of racist typecasting aside (Italians are criminals by nature?), she really cannot suffer gladly both fools and brats on an equal measure.

referential entries: Donner’s SUPERMAN (1978, 6.6/10); Chris Columbus’ PERCY JACKSON & THE OLYMPIANS: THE LIGHTNING THIEF (2010, 4.2/10); Steven Spielberg’s INDIANA JONES AND THE TEMPLE OF DOOM (1984, 7.2/10).