在我們沒有正式進(jìn)入社會的時候，不怕后果，試圖挑戰(zhàn)邪惡，永遠(yuǎn)希望自己擁有澆不滅的勇氣和精神。我們也永遠(yuǎn)期待，看起來平靜的社區(qū)，波瀾不驚的生活，會突然發(fā)生一件自己不得不參與并起著關(guān)鍵作用的大事。事后，大人們贊許的目光，同齡人的鼓掌歡呼，也一定是必不可少的關(guān)鍵劇情。

這樣的事情，有時候在我們的幻想中經(jīng)歷了千百遍，有時候成了游戲環(huán)節(jié)的一部分，有時候已經(jīng)發(fā)生了但我們卻置身事外。

這種期待，是那個年齡段，每個孩子獨(dú)有的天賦。

后來，童話變得越來越模糊，冒險也不再是首選。到一定的年齡時，海盜、寶藏、機(jī)關(guān)陷阱、亮著火把的洞穴都從我們的大腦里偷偷打包好一切離開了。這電影，就成了一段珍貴的紀(jì)念。

生活里，沒有非自己不可的大事件，沒有不會殺人的笨賊，沒有等待自己尋找的寶藏，也沒有全體角色衷心的贊許與歡呼。

因為沒有這些，所以擁有過這些，哪怕只是在想象中擁有過，也是一件了不起的事情。

適應(yīng)大人的生活，接受成為普通的大人，經(jīng)歷平淡卻枯燥的大人日常，不是糟糕的事情，也不是我們后來不夠勇敢的懲罰。一定一定不要怪自己。

雖然《七寶奇謀》在1985年上映，但在今天它仍然會被人討論。它披著奇幻冒險故事的外殼，表現(xiàn)出那個年代（和這個年代）人們對幸福生活的定義和渴望。

一切冒險的開端是主人公的房子即將被抵押（猜測，電影中未明說），幾個小伙伴聚在一起度過最后的“七寶時光”。過了那一天，大家將各奔東西。因此，盡管電影中包袱不斷在歡樂的表面下依然時不時地涌動悲傷。

最后，主人公靠冒險得來的寶石讓爸爸還清貸款，小伙伴們終于能夠在未來繼續(xù)待在一起生活。七寶中被人嫌棄的小胖最終和懶鬼成為摯友和家人。前期面目可怖的懶鬼在電影的后半段如超人一般拯救主角們于水火之中。這部電影認(rèn)為那些被排擠的人也有潛力放射出光芒。只要給予他們一個機(jī)會，他們絕對會為所愛之人挺身而出。

主人公們其實(shí)根本不想要獨(dú)眼威利的寶物本身，他們要的是能用寶物換來的幸福生活。反觀那些一心貪財，而不是渴望家人快樂，朋友團(tuán)聚的villain，最終進(jìn)了監(jiān)獄。在那個時代（這個時代或許也一樣），金錢是限制人獲得幸福生活的一個重要因素。在現(xiàn)實(shí)生活中，七寶不會冒險，不會得到寶石，不會和愛的人在一起。

或許每個人心中都有一個地方 藏匿著獨(dú)眼威利的寶物和自我對他人的愛。

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 soup?on 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).