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Quotes

Mama Fratelli: Kids suck.

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Trivia

When Jake Fratelli is escaping from the jail and running to Mama Fratelli's car, he is wearing a hat. The hat he is wearing is identical to Indiana Jones' hat in Raiders of the Lost Ark, and its sequels/prequels - films directed by Steven Spielberg, who created the story for The Goonies. See more...

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The Goonies (1985) - 205 mistakes

Directed by Richard Donner, starring Corey Feldman, Jeff Cohen, Joe Pantoliano, John Matuszak, Jonathan Ke Quan, Josh Brolin, Martha Plimpton, Robert Davi (add more)

Genres: Adventure, Comedy, Family, Mystery

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Continuity: After Chunk does the 'Truffle Shuffle' and Mikey releases the bowling ball, we see the horizontal piece of wood that is painted red and attached to the porch rail, from which the silver bucket is lowered. It's seen in many shots. What's funny is that in the first shot of the Walsh's house, after the Fratellis drive past at the bottom of the hill, that piece of wood is white, because it hasn't been painted red yet by the crew.

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Revealing: When all the kids are in the diner and Chunk knocks the water jug over, Mikey starts to bang on the ground with a bar. When Brand stops him Mikey calls him by his real name Josh. This is verified on the DVD by Sean Astin himself, in the commentary.

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Continuity: On the beach, when Mr. Walsh is tearing up the contract we see the bits of torn paper, but when he tosses them in the air there are many more pieces of torn paper up there.

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Revealing: The stone ground all around the skeleton is intact, right up until Andy plays the first wrong chord which causes the ground to give way, right behind Mouth. But it's funny how in the overhead shot, as Mouth falls backwards, we can actually see the stone ground has already fallen behind Brand, even though that hasn't happened yet.

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Continuity: When Chunk flags down the car for help, he finds Jake Fratelli, who begins to sing loudly in Italian. Chunk screams, and as we hear Jake continue singing, we see his reflection in the side-view mirror as he is smoking a cigarette silently.

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Other: In the final scene where they are being asked what was the scariest part of the trip, Data replies "the octopus" when the scene containing the octopus was deleted. The scene is shown on the DVD's Deleted Scenes.

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Other: When Troy is in the country club restroom and is sitting on the toilet, he has his trousers down around his ankles. When he gets shot up and crashes into the ceiling, you will notice he has red briefs on, but surely he would have pulled them down too...

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Continuity: On the deck of the Inferno, when Francis is tying up Andy's hands in the tight close-up, his gun holster is gone.

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Continuity: When the Fratellis make their escape in the ORV at the start, the windshield's rearview mirror disappears and then reappears.

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Continuity: On the deck of the Inferno, when Mama is pulling the pearls from Mouth's mouth, Francis is tying up Andy's hands with black rope. When Mama asks, "Is that all?" the color of the rope is off-white, but it then changes back to the black rope in the following shots.

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Other: With Andy weighing at least 100 lbs, surely Troy and the guys trying to pull "her" up would notice that a bucket carrying the sweater is nowhere near the weight of a person. Even if they filled it with coins from the wishing well, it still wouldn't come close to the weight of an actual person, regardless of how idiotic and pompous Troy is.

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Continuity: After the final correct bone keys are played, Andy is the last to cross, and in the close-up of her feet the map actually falls behind her into the hole, but it is back up in its proper place for Andy to make that last second grab for it.

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Other: When Data starts the printing press, two closeups show the two $100 bill face templates on the machine as it prints the counterfeits, however, what is being printed on the papers are the images of $50 bills.

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Continuity: When Brand hangs upside down from the bar, we can see that the kitchen table and four chairs are right in front of the kitchen window. But when Mikey unrolls the map in the kitchen, Chunk, Data, Mikey and Mouth are standing directly in front of that kitchen window, which is completely impossible to do.

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Revealing: Up in the attic, when Chunk walks over to Mikey (who wants Chunk to drop the frame), at that moment Data and Brand are alone, and while the two of them are looking at the plasma lamp Brand flicks the glass with his finger, and just as Data stares at Brand we can clearly hear Data say, "Don't touch it Josh!", which is Brand's real name. (Mikey does the same thing later at the lighthouse restaurant.)

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Other: When Andy plays the bone organ, the musical score on the back of the map clearly shows a melody consisting of single notes with only one or two chords. Still, Andy presses multiple keys on the organ to create chords EVERY time, not some single notes as the code shows. The code should not have worked if a person was playing only chords.

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Continuity: Before the 'bathroom' break, when Mikey holds up the map, the top of it is burned off and very few musical notes are actually there along its edge, but when they reach the skeleton's bone keys the top of the map is clean, with a musical score along the entire edge.

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Continuity: When Data crashes through the screen door, as Chunk begins to fall backward with the statue, the pothos plant that falls off the table is in a black plastic container, but that pothos plant was actually in a large white ceramic pot in previous shots.

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Revealing: At the Astoria Country Club, when Troy first sits down in the stall and opens the magazine, behind him are at least nine columns of small patterned tiles. In his next close-up as he looks around, the wall behind him is completely different. Now there are only six columns of larger unpatterned tiles, with a long vertical gap between the tiles (where the grout should be) - which is the track for the mechanism to lift Troy in the following shots.

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Visible crew/equipment: When Francis Fratelli walks across the beam he slips and does a flip. In the wideshot, we see the sudden appearance of a riveted platform affixed to the beam, extending from its left side, directly in front of Francis.

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