The Goonies (1985) - 198 mistakes

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.

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.

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.

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.

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.

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.

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...

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.

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

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.

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.

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.

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.

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.

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.)

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.

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.

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.

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.

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.

Continuity: Chunk breaks the glass on the frame and then he and Mikey clear away much of the broken glass from it. When there is another view of the picture all the glass is still on it.

Continuity: In the beginning, when the Fratellis are eluding the Police, Chunk witnesses the chase. In the first shot the slice of pizza is on the window. Next shot Chunk holds it in the air, and in the third shot the pizza is back in its place where it was in the first shot, with a saucy smear on the window.

Continuity: When Brand tells the others that the $50 bills are fake, Stef takes the newspaper with the Fratelli family mugshots off the post, from over the telephone. Then when Chunk gets the ice cream out of the freezer, the newspaper is back up on the post, but when the kids lift the dead body off the floor, the newspaper is missing from the post. Finally, in the shot just before Chunk shouts, “Guys, I’m stuck with the stiff,” as the kids run into the fireplace, the tired newspaper is now lying on the printing press.

Continuity: During the jail breakout, when Jake tries to open the ORV's door, in the shot facing Francis he is holding the gun in his left hand as he tries to open the door for his brother with his right hand. In the next shot facing Jake just before shouts, "I don't have the handle, open the lock!" Francis's gloved left hand is empty, and next shot, the gun can be seen in his right hand.

Continuity: In the opening scene where Data is using his sticky dart on his belt and being dragged towards the full bin, it changes to being empty just before being pulled in!

Visible crew/equipment: When Troy is in the country club restroom, the toilet overflows and he gets pushed up to the ceiling, you can see that he is sitting on a platform. When the water shoots out, you can see the pole connected to the platform being raised up.

Revealing: When the Fratellis get a visit from the bats out of the basement, two bats fly in front of Jake Fratelli and while they are flying in front of him you can clearly see their wires.

Visible crew/equipment: At the Lighthouse Lounge, when Chunk opens the door and sees the bullet riddled ORV, Chunk's reflection on the back of the vehicle moves to the right, but there is another moving reflection to his left.

Revealing: When Brand finds the skeleton key in the dirt, he holds it up as Mouth wipes the dirt off the three holes. It’s actually quite funny seeing what is supposed to be Mouth’s hands in the close-up, with its female manicured fingernails.

Visible crew/equipment: When Francis and Mama Fratelli carry the bagged corpse to the ORV, in the close-up the reflection of a crewmember, who moves his head, is visible on the surface of the black vehicle.

Continuity: When the kids light the two lanterns they find in the pipe room, they stay lit somehow, even though the lanterns get wet in the well.

Continuity: When Andy begins to lose it in the tunnel, Brand holds one lit lantern at the head of the line and Mouth holds another lit lantern at the back of the line (Mikey holds an unlit lantern). Next shot the lit lanterns have switched, just as they reach Chester Copperpot and Andy screams. Then in the next wideshot before it pans to the skeleton, the lantern Brand holds up switches yet again.

Continuity: On the Inferno, when Sloth swings in and rescues Stef and Mouth from the gangplank, as he drops them on deck Sloth wears all black high-tops with black laces, but in the previous and following shots he wears his usual black high-tops with white soles and laces.

Continuity: On the Inferno's deck, after Mouth spits out the jewels from his mouth, when Andy calls Mama, "You gross old witch," Francis is tying up Andy's hands and his sword is held between his legs, but in the next shot Francis is behind Stef and the sword instantly appears in his hand held high.

Revealing: When Sloth swings from the rope to grab Mouth and Stef, who are tied up on the plank, you can clearly see that the kids are fake dummies before and after Sloth grabs them. (On the DVD Commentary, Director Donner and Corey Feldman (Mouth) explain why 'dummies' were used.)

Continuity: At the start, when Data practices with the blue suction dart, in the close-up as the dart flies out we can see the mechanisms inside Data's invention. When it cuts to a tighter close-up, suddenly there is a spinning spool welded inside, which was not in the previous shot, that is retracting the orange string.

Continuity: When Mr. Perkins hands Brand the foreclosure papers and then when the two men walk away, the picket fence door is shut, but when Mikey is alone on the porch as he looks at the two men, that fence door is wide open.

Continuity: Outside the lighthouse restaurant as the Fratellis drive away, when Andy and Stef surprise Brand, Mikey and the others, Mikey’s yellow rain slicker has a tear a few inches long, at the back of his left sleeve, that mends itself in following shots.

Visible crew/equipment: After doing the Truffle Shuffle, when Chunk walks into the Walsh's house, the reflection of crew/equipment is visible in the window to the right.

Other: Up in the Walsh's attic, in three shots of Mikey as he continues to say, "Then he loaded it all up onto his ship and he sailed away into the sunset..." there is something black hanging down from the top of the screen that stays put as the camera pans in closer to Mikey's face. It disappears, then reappears when he says, "Trapped."

Continuity: In the scene in the basement, Chunk is about to drink from the water cooler bottle that is one fourth full. When he stands up and tries to catch it, it is almost full.

Audio problem: Many of the gunshots during the chase scene are off cue with the police officers' shooting.

Continuity: When Sloth pulls the chains out of the wall, he picks up the Baby Ruth and there are no shackles around his wrists. He didn't break them, he only broke the chain at the wall.

Factual error: Two of the huge rocks which plummet from the roof of the cave hit the water and then bob to the surface again. Pumice is the only rock which floats on water, but this rock is white and pumice is grey, and pumice is too light and porous to form cave walls anyway.

Revealing: In the scene in the cave where Brand pulls back the rock and the bats fly out, there is a close-up of Mouth with bats flying in front of his face. You can clearly see the wires attached to the bats.

Continuity: In the attic, after Chunk breaks the frame, in the overhead shot there is a long piece of glass still attached to the frame, but as Mikey and Chunk kneel to lift the frame, that long piece of glass is gone.

Continuity: When Data's 'bully blinders' are on, just as the bulbs dim, in the close-up Data's cartridge holder hangs over his right shoulder to his left hip instead of the opposite way, as seen in the previous and following shots. Interestingly, this is not due to a flipped shot.

Continuity: At the very end on the beach, Chunk is wearing a knit hat, but Mouth is not (he took his off earlier). Then in the shot looking up at the Goonies, who are circled around the hand holding the jewels, Mouth is now wearing a knit hat and Chunk’s hat has vanished, but next shot they’ve switched back again.

Visible crew/equipment: When Data crosses the beam with his 'slick shoes', the others are standing at the end of the beam telling him it's good enough. As their arms are stretched out towards Data, there is a platform lying atop the beam at Mouth's feet.

Continuity: When Mrs. Walsh shows Rosalita the house, the attic door is open and we see that it opens at the left, with the wallpapered wall behind it and nothing in front of it except the banister. When Brand opens that door and the boys rush up, we see the wallpapered wall behind it, only this time the attic door opens at the right.

Other: In the end of the movie. Mouth goes up to Stef and thanks her for offering to save his life. During the movie, however, Stef never offers to save his life. It is explained somewhere that in one of the deleted scenes, when Stef and Mouth are on the plank she offers to share her breath with him so they can both breathe under water.

Audio problem: When they are standing in Mikey's kitchen looking at the map, all you can see is their eyes above the top of the map. Right before it cuts away to the Cyndi Lauper video, the map moves down just enough to see Chunk saying something, but there is no accompanying audio.

Audio problem: When Mouth has just finished his Spanish in the scene 'Mouth in Espanol', you can hear a man's voice saying 'Wow'. Listen very carefully, though, because the man's voice speaks while Mrs. Walsh is speaking.

Other: When the Fratellis get out of the water, they show no signs of being wet at all, like when they catch the Goonies near One Eyed Willy.

Continuity: At the end when everyone jumps off the gangplank to escape, between three consecutive shots we see Data and Chunk jump off twice.

Other: In the pirate ship scene, when the large boulder is falling from the ceiling of the cave into the water, its splash is humorously small.

Visible crew/equipment: Near the start, when Mikey unlocks the door, just as Mouth steps inside the house the actor's L-shape tape mark is visible on the porch.

Deliberate "mistake": Even if the kids split up on the water slide, only the last two fell out of sequence. Mikey exited first followed by Mouth, and Stef, but then Brand fell before Andy, he should have been last.

Revealing: In the bone organ scene, right after Andy plays the second correct note, when Data runs to the entrance the entire stone floor is intact, then it disappears again.

Continuity: After Data breaks through the screen door and causes the pile up, the potted plant that was on the table is already lying on the floor in the next shot of Chunk catching the statue, even before it falls and hits the floor.

Continuity: In the scene where the kids are crossing the wooden bridge near the waterfall, Data is seen holding a lantern. After he does his "slick shoes" routine, the lantern has disappeared.

Continuity: In the scene where they are playing the bone-organ to escape, the Fratellis walk across the beam then climb the rocks to get to the room where the Goonies are. In one of the rocks there is a tall metal post sticking up. A shot shows one Fratelli brother stick his hand on this post to pull himself up, but in the next shot the hand is gone and a moment later the Fratellis emerge from the water.

Continuity: When you first see Andy's hands being tied, you can see that they are tied fairly tight. Right before she goes off the plank, you'll see that the rope is barely around one wrist. In the next shot as she is going into the water, you can see her holding her elbows with both her hands. Then when Brand rescues her the rope is secure again.

Continuity: During the high speed police pursuit behind the Fratellis, once the second police cruiser pulls behind the first, the squad cars' positions change - in some shots the second police cruiser leads and in some shots the first, just note the different bumpers.

Continuity: After letting the air out of Brand's bike tires, Mouth shuts the picket fence door (the door near the boat) and then Mikey begins to ride away on his bike, but next shot as he rides past, that fence door is wide open. (There are two fence doors - one near the boat and the other one Chunk used earlier.)

Revealing: During the police chase, when the Fratellis turn left in the close-up (just before the shot of Mouth's TV), sitting in the passenger seat instead of Francis we see a man who is taller, wears no glasses and is at least 25 years older than our Francis. Also note the man who is driving instead of the real beloved Mama Fratelli.

Continuity: When the Fratellis leave the County Jail, the first police cruiser which makes the U-turn has a smooth chrome bumper with only a recessed license plate at the center, but when they make the first left turn, that squad car now has a chrome bumper with driving lights at each end and bumper guards on both sides of the license plate. It's funny how when they make the next right turn, the car style actually changes mid-turn, between shots - just before the second police cruiser joins the pursuit.

Revealing: At the start, when Data is being pulled towards the chained orange drum, due to the angle of the close-up, we see that the soles of Data's Nikes are not actually touching the ground (since there is a rolling mechanism under his feet).

Continuity: At the start, when Data shoots the suction dart at the orange drum, the drum's scratches, dirt and dents are different in the following shot, as it is being pulled towards Data.

Continuity: When Mikey turns the 'triple stones' and trigger the large ball, the ball is stained and dull-colored when it begins to roll, then changes to a clean, high-gloss brown as it continues on the track, but reverts back to its original coloring when it falls.

Continuity: When Chunk drops the frame with the map, in the shot looking down at the frame lying on the floor, there are five narrow planks of wood flooring under the frame, but next shot there are three wide planks.

Revealing: Just as Mikey opens the front door for Data's entrance, the porch upper rail is seen right outside the doorway, with the chimes hanging from it. The problem here is the long wood plank at the top corner of the porch railing, that has been added to the decorative bracket that's seen in all other shots.

Continuity: After Brand is given the foreclosure paperwork, when everyone goes inside except Mikey all the hanging plants at the side of the house are gone, but they’re back when the kids leave on their bikes.

Continuity: After Chunk walks in, when Mouth and Mikey kneel in front of the aquarium Mouth’s white sock is visible, but when Chunk places the statue on the edge of the table and it falls, we see that Mouth’s sock has vanished.

Continuity: At the Astoria Country Club, when the first shower handle disappears into the wall, the three surrounding tiles break off entirely from the wall. After the next few handles disappear, the wall with the first disappearing handle is shown, but now the square tiles are intact and only cracked.

Continuity: When Mr. Walsh has the paper on Mr. Perkins back, the top paper reads “final notice” when Mouth turns to stop him from signing, but when it cuts to the close-up, that “final notice” top sheet is actually gone.

Continuity: When Rosalita (black coat) pours the jewels into Mrs. Walsh’s (beige coat) hands in the first close-up, the hand holding the jewels has long nails with colored nail polish. It cuts to a close-up of the Goonies looking down on that hand, and then cuts to a tighter close-up of just the hand holding the jewels, but now there is no nail polish on the thumbnail and the nail is shorter.

Continuity: When Mrs. Walsh asks, “What is that?” pointing to the mess on the table, the bowl is filled with chips in the close-up, but when she walks out with Rosalita the bowl is nearly empty.

Visible crew/equipment: When Mr. Walsh rips up the foreclosure paperwork, the reflector screen is reflected in his glasses.

Continuity: When Data places the cassette into the tapedeck and grabs hold of the bar on the zip-line, his palms face him as he takes off, but next shot as he slides down his palms face out.

Continuity: After Mr. Walsh tears up the paperwork, when the reporter steps forward to ask if the jewels are real, Mouth stands right in front of him facing the other kids, but next shot Mouth instantly stands behind the kids, facing the reporter. This continues to go back and forth.

Visible crew/equipment: When Jake runs out of the County Jail, as the camera pans down when he shouts, “Francis, the lock,” the moving boom’s reflection is visible over the back door, and the camera’s and cameraman’s reflections are visible on the vehicle's surface, right behind Mama Fratelli.

Continuity: When Data shoots the blue suction dart at Mama Fratelli’s gun, it leaves the stick behind still attached to his belt, but in the close-up of the gun the stick is attached to the suction cup and string.

Continuity: When Chunk and Rosalita are eyeballing each other regarding the statue, there are colored curtains and sheer white curtains hanging from white rods on the two windows behind Chunk (behind the recliner). When Mikey unrolls the map in his kitchen, through the doorway we see that the sheer curtains are gone and now there are shades behind the colored curtains.

Continuity: At the start, in the second exterior shot of the Walsh’s house, after the Fratellis drive past at the bottom of the hill, we see Mikey sitting outside his window beside the small, all black telescope. In the next interior shot the telescope is a different style, it is now grey/black and quite larger.

Revealing: After dropping the frame and breaking the glass, in the close-up of Chunk’s arm removing the map from the frame, the arm is larger and much older looking – note the wrinkled elbow and thin arm/hand, whereas Chunk's elbow has puckers at the joint and he has short and chubby arms/hands.

Continuity: In the cave, when Data does his ‘slick shoes’ there are metal plates attached to the back of his sneakers and strings which lead up the back of his pants, that instantly appear and disappear.

Continuity: When Brand says, “Why couldn’t I have had a little sister…instead of that?” it cuts to Mikey as he raises his left arm to the ‘triple stones’, but next close-up it’s his right arm that is raised.

Continuity: In the cave, when Francis Fratelli begins to balance himself on the beam, in the close-up when he shouts, “Don’t push, Jake,” the flashlight is under his left armpit, but next wideshot he holds the flashlight in his right hand.

Continuity: At his house, when Brand is working out with the chest expander, in the close-up the black handles are straight bars attached to the springs, but in the wideshot as Mikey conspires with the others to tie up Brand, the handles are now angled and have notches between the springs. (Likely the close-up is a take from the earlier scene when Mouth first arrives.)

Continuity: When the Fratellis first catch up with the Goonies in the cave, in the close-up Data turns to his right to face the Fratellis, but next wideshot he is turned to his left as he gestures to them. The other kids’ positions change between shots as well.

Continuity: In the beginning scene of the cop calling out the inmates for their lunch, just as he calls "Hey Turkey." you can see the shadow of the supposedly hanged Jake Fratelli on the right wall. The shadow is totally inconsistent with the design of the cell and position Jake was hanging in.

Other: In the shot of the old guys taking a shower, you can see the outlines of the tiles that are supposed to be smashed when the water regulators withdraw into the wall.

Visible crew/equipment: In the shot of Mama Fratelli waiting outside for Jake in the ORV, you can see the reflection of some film equipment in the small triangle window next to her.

Continuity: Whenever Data uses his boxing glove device, it creates a rather large bulge in the side of his jacket. However, this bulge isn't present through most of the movie, it just magically appears whenever Data uses the boxing glove.

Continuity: When Data activates his 'slick shoes' on the log bridge, the heels of the shoes pop open to reveal the 'slick shoes' mechanism which starts spraying oil. In the next shot though, they show Data walking across the log, the heels of the shoes are closed, and the oil squirts out of holes in the back of the heels apparently.

Continuity: When Brand turns on the water in the kitchen sink Mouth is sitting on, in the closeup shot it's a very different sink and faucet. There is even a yellow bottle of detergent that isn't there in the wide shot.

Continuity: In the scene where Mikey, Brand and Mouth are listing the exaggerations Chunk has come up with, Mouth says "And I bet it was even more amazing than the time you ate your weight in Godfather's Pizza." When he gets to the "Godfather's Pizza" bit, it becomes clear that this has been dubbed over the original filmed scene, as his mouth does not match his words in the slightest.

Continuity: All the Goonies get soaked while in the Old Moss Garden wishing well, but when they are seen again in another part of the cave they are all dry, and there is not a sign of being soaked.

Revealing: When the Fratelli brothers pick up Chunk on the road, the mole on Chunk's face switches sides when he is with the dead guy in the back. The shot is flipped.

Continuity: When the back of the Fratelli's ORV is riddled with bullet holes, you can see they make a distinctive backwards "L" shape above the Jeep letters. Later, when Chunk examines the ORV, the bullets holes are now in different places than they were before. Also, the license plate that is seen on the ORV when it is hit by the bullets, changes design as well.

Continuity: When Brand takes Data's sister's bike, there is a horn affixed to the handlebar which disappears when Troy pulls up beside Brand in his car and then reappears when Troy starts speeding holding Brand's arm.

Continuity: At the start, when Data's suction dart attaches itself to the orange drum, there are tall metal pieces of junk behind the grey drum which disappear, as the orange drum is being pulled forward toward Data.

Continuity: When Data shoots the suction dart at the orange drum, he stands in front of grey drums and other junk, but in the close-up as Data opens the belt's dart compartment, the area behind him is completely different.

Continuity: When Francis Fratelli pours the gasoline in front of the County Jail, there's a parked police cruiser at the corner of the building next door, in front of its windows. After he ignites the fire, there is a close-up of the ORV's tire as the vehicle pulls away, and in the background that squad car is gone, but in the next overhead shot that parked police cruiser is back.

Continuity: During the jail escape, when Jake is trying to open the locked door, there is a close-up of Mama Fratelli shouting, "Jake, up!" and we see a police cruiser parked on her left. When they leave, in the overhead shot that space is empty, but next shot a vehicle is there, though it isn't a police cruiser.

Continuity: On the beach, when Mr. and Mrs. Walsh leave the van and then rush to Mikey and Brand, Mikey's knit hat is pulled down low over his ears, but next shot it is folded up above his ears, though he never touches it.

Other: When the Inferno is in the cave the vessel's sails hang or are furled a specific way on the masts, but when the ship sails past the beach the rigging differs significantly.

Continuity: When the kids first see the Inferno, in the wideshot facing all of them, Brand stands between Stef and Mouth with Data and Mikey off to the side, but next shot facing the ship Brand is now at the other side hugging Mikey.

Continuity: When the kids first see the the skeleton bone keys, Stef and Andy are arm in arm with each other, but next shot facing the skeleton Stef is standing behind Andy.

Continuity: When the first police car makes a U-turn, to chase the Fratellis, the squad car's front passenger window is rolled up, as the officer's hands are on the steering wheel. But in the next interior shot, facing that window, it's rolled down - there's even a black wire hanging over the bottom of the open window, to the left.

Continuity: When Mouth goes down the hole in the fireplace passageway, the cooler base is right beside the fireplace, but when Mikey pushes Data and his backpack into the hole, the base is farther away. When Brand pulls the log holder over the hole the base is back, right beside him, but when Chunk heads for the basement window the base is farther away again.

Audio problem: When Data turns on the 'bully blinders', the others are blinded by the light. As they follow him we hear Mouth shout, "Who is that? Oh Stef that's you, watch out! Data!" his mouth is not in sync with any of it.

Continuity: In the first overhead shot of Chester Copperpot, his entire ribcage and his right arm bone are visible. In the following shots the boulder lies more than halfway up his ribcage and the arm bone is not visible any longer.

Continuity: When the Fratellis drive away from the Lighthouse Lounge with the corpse wrapped in the black plastic, the boys duck down behind a rock and a large piece of driftwood. Their positions are completely different between the front and back shots.

Continuity: There is a rather tall plant beside the Walsh's front door, in the corner, that keeps moving from the corner to the front of the draperies, then back again, throughout the early scenes.

Continuity: After removing the 'copper bone' necklace from Chester Copperpot, when Mikey puts the necklace around his neck, the cord's knot moves farther up between shots.

Continuity: When Jake Fratelli searches through Chester Copperpot's wallet, it faces the opposite direction between shots - note the driver's license.

Continuity: Just as Data hands Mouth the lantern and Mikey tells him to translate, Mikey stands between Data and Mouth, but next shot as Mouth says, "Copper bones. Westward foams. Triple stones," Mouth is between the other two boys.

Continuity: When Data crashes through the screen door, sending Chunk to the floor with the statue, in the first shot there is a long bright stream of sunlight shining on the carpet, between Chunk and the stereo which disappears in the next shot.

Continuity: When Mikey pulls the cord to release the bowling ball, the rocking chair is parallel to the railing, facing the porch, but in the opening shot of the house it was closer to the stairs and facing the yard.

Continuity: When Mouth stands by the door cracking up at Chunk's 'Truffle Shuffle' and in more following shots, there is nothing on the wall behind him between the hutch and doorway. After Data breaks through the screen door there is a large painting hanging there.

Continuity: When Brand runs down the stairs to take the paperwork from Mr. Perkins, the large hanging plant that should be over Mikey is gone, but it was there when Chunk arrived and is back later.

Continuity: When Chunk is picked up on the road by the Fratelli brothers and thrown into the back with the corpse, he starts screaming. His red jacket hangs off his shoulder, but rights itself between shots.

Continuity: On Inferno’s deck, when Data stubbornly takes a stand against the Fratellis, Mikey’s and the others’ facial expressions and positions repeatedly change between close-ups and wideshots.

Continuity: When Mouth first shows up at the Walsh’s, in the wideshot as Brand is stretching the chest expander, Brand’s left leg is crossed over his right, but in the close-up it’s right over left.

Continuity: When Data explains that the skeleton is Chester Copperpot, Mikey is crouching beside the boulder that fell on Copperpot. In shots facing Mikey, he’s holding the book and baseball card, but in shots facing Brand, Data and Mouth he is not.

Continuity: When Troy sends the bucket down the well, in shots facing Andy and the rest, she stands behind the bucket, but in the shots facing Mikey as he tries to convince them all to continue on, Andy's left foot is atop the bucket, and so on.

Continuity: After Mikey sets off the falling boulders by pulling the wire, when Brand climbs up to move the rock Stef and Andy are standing about four feet apart, but in close-ups they are shoulder to shoulder, and so it goes over and over again.

Continuity: On the beach, when Mikey tells his father, “We had our hand on the future, but we blew it…,” in the close-up the brown blanket is only on Mikey's left shoulder, but in the previous and following shots the blanket is snugly around both shoulders.

Continuity: After they find the skeleton key, when Mikey lifts the string in the dirt, which triggers the scythe to cut the rope, the rope differs between shots.

Continuity: When Stef finds the newspaper with the mugshots over the telephone and shows it to the others, how the newspaper is folded differs between close-up and wideshot.

Continuity: When Chunk is in the freezer collecting a bunch of the ice cream in his arms, their positions change between the wideshot and close-up, when he sees the frozen corpse.

Continuity: Chunk is tied to a chair when Jake and Francis leave him in the room with Sloth. When Chunk introduces himself to Sloth, the rope around Chunk’s right shoulder has gone up, off the chair, but then manages to lower itself again, back over the chair in following shots.

Continuity: When the Inferno sails past everyone on the beach, in the close-up of Mikey blowing a kiss and saying thanks, he has a blanket wrapped around him, but next wideshot the blanket is on the rocks, at his legs.

Continuity: When Chunk runs to the window, to watch the police chase, in the interior shots he stands in front of divided window panes, but in the exterior shot facing him he stands in front of a single pane of glass.

Continuity: When Brand, Andy and the rest enter the room with the fireplace and printing press, the water cooler is covered in cobwebs, but when Chunk knocks over the water bottle just about all the cobwebs are gone.

Continuity: When Andy plays the final correct chord on the bone keys, the doorway opens and Brand rushes forward with nothing in his hands, as he grabs hold of the door’s chain, but next close-up the lantern suddenly appears in his right hand.

Continuity: In the attic, after Mikey finishes his story about One-Eyed Willy, in a close-up Chunk stands up and walks toward the frame which lies sideways between the crate and another frame. When it cuts to another close-up, his foot knocks over the now front facing framed Chester Copperpot news article. Next shot, when Chunk lifts it, the frame and taped back differ and the loose wire is now attached properly.

Continuity: On Inferno’s deck, when Sloth jumps rope with Francis and Jake, in the close-up of his feet he wears all black high-tops with black laces, but in the previous and following shots he wears black high-tops with white soles and laces.

Continuity: When Data shoots the blue suction dart at Mama Fratelli’s gun, she drops the gun and when it falls below deck Jake’s Sporto boot is seen on Mama’s right (viewer’s left), but in the previous and following shots Jake is standing to her left, beside Francis.

Continuity: When Mouth walks into the Walsh’s house, there is a jacket hanging on one of the four hooks in the hallway, but when Mouth opens the door and sees Chunk at the gate the jacket’s gone. We know it didn't just fall down, because we can see the floor below the hooks in later shots.

Continuity: When Chunk waits to be let in at the gate, Mikey pulls the cord to release the bowling ball and there is a long blue handle (broom?) leaning against the window, but it isn’t there in previous and following shots.

Continuity: When Mama Fratelli says, “Follow me,” and begins to walk along the side wall, past the skeleton’s bone keys, her body faces the skeleton as she holds a large flashlight in her left hand and the wall with her right hand. Next overhead shot she is turned around to face the wall and the flashlight has switched hands.

Continuity: Aboard the Inferno in One-Eyed Willy’s quarters, when Brand says, “Don’t know. Who cares?” he’s holding a candlestick with a candle. When he fills his pockets with the riches in the previous and following close-ups, the candlestick style differs and it’s loaded with melted wax.

Continuity: When Mrs. Walsh, Rosalita and Mouth go back downstairs, after Mouth’s interesting interpreter skills, in the first shot Rosalita holds her umbrella in her left hand upside down, but next shot it’s in her right arm, right-side up.

Continuity: Just after the police chase passes Chunk at the window, the lead police car swerves and hits the road block, knocking it over in the wideshot. Next close-up that swerved car stops right beside the road block, not touching it.

Continuity: At the end, when the Fratellis show up on the beach, Chunk and the others run over to Sloth to protect him and Chunk stands on a large boulder. The ground is rocky and the sand is brownish. When Chunk tells Sloth that he’ll live with him, in the overhead close-up Chunk is now shorter than Sloth and the ground is pristine off-white sand.

Continuity: Up in the bedroom, when Mikey jumps on Brand who’s bench pressing, he grabs hold of the bar and his hand is on the outside, with Brand’s on the inside, but close-up their hands have switched.

Continuity: The large ‘007’ with smiley faces that are painted on Data’s utility belt cover changes throughout the shots, from the time we first see it at the start when he practices with the suction cup dart.

Continuity: When Data does the ‘bully blinders’, his utility belt is high up on his waist and the flashlights are at the same height. Next wideshot the belt is much lower and the right light is much higher than the left.

Continuity: The red bandana that Brand wears during the first half of the movie repeatedly changes the way it is folded around his forehead. Note the white/black distinctive designs that constantly change between shots.

Continuity: When Data’s blue suction dart is stuck to the orange drum and the string is retracting, the thin orange string we saw being released from Data’s belt has turned into a thicker brown cord, which pulls him toward the drum.

Continuity: At the start, when Data practices with the orange drum, just as the blue suction dart is released, the stick part remains on his belt while the suction cup and string go flying off, but in the next close-up the stick is between the string and suction cup, then the next shot of the belt shows the stick is gone.

Continuity: During his escape from the County Jail, when Jake tries to open the locked car door, in the interior shots looking out, the window between Francis and Jake is completely covered in water droplets, but in the exterior shot facing Francis that window is spotless.

Audio problem: In the cave at the start of their trek, when we hear Andy say, “We’ve been walking forever. How much further do you plan on going?”, her mouth is not in sync at all with those words.

Revealing: On Inferno’s deck, when Data takes a stand against the Fratellis before he shoots the blue suction dart/string, the close-up of his utility belt is the same one seen at the start when he practices on the orange drum. Note the differences in the background and clothing/inventions under the coat.

Continuity: When Mouth lets the air out of Brand’s bike tires, the reflectors on the spokes are in different positions in the close-ups.

Continuity: In the Walsh kitchen, after Mouth gets wet, Mikey unfolds the map and holds it in front of him. In the next close-up facing Mikey, Chunk, Data and Mouth, take note of their hair, particularly Chunk’s and Data’s. It is much shorter than previous and following shots.

Continuity: When they are with Chester Copperpot’s remains, Mikey hands Data six sticks of candles and dynamite, but in the next shot Data takes hold of nine.

Continuity: When Mikey opens Chester Copperpot’s wallet, the wallet and what’s inside differs between shots, as well as the way Mikey holds it.

Continuity: After Andy kisses Mikey, when she tells Stef about it, her long hair is at her back, but in the close-ups her hair is in front of both shoulders, but next wideshot it’s all behind again.

Continuity: We see Mouth climb down into the fireplace passage after Brand and Andy. We then see a close-up of Stef’s pink high-tops descend, being helped by Mouth (we see his rain slicker), who’s already down there with Brand and Andy, who are visible in the background. It cuts to a close-up of Stef, with Data’s white Nike high-tops climbing down after her. But the next close-up is of Mouth’s feet (black Nikes) just coming down as Brand grabs his ankle and says, “Come on!” Impossible since Mouth was already down there.

Visible crew/equipment: In the scene where the Goonies are first climbing the ladder on the pirate ship, the second shot has a crew member waving his arm on the far left of the screen.

Other: In the bone organ scene, when Andy plays her first wrong note, you see Mouth in the next shot and he drops down before the floor even collapses.

Revealing: When Chunk unknowingly flags down the ORV driven by the Fratelli brothers, as Francis drags Chunk to the back hatch there are cables that run from the ORV to the side of the road, off camera. These cables were not in the previous shot when the ORV first stopped.

Continuity: When Stef explains to the others why they shouldn't take the coins of the well, Mouth is standing next to Data silently counting the money in his hands. In the next shot of Mouth explaining how his wish didn't come true, he is now standing farther away from Data.

Continuity: The design on the face of the treasure map and its two holes change, from the scene where the Goonies are in the attic to when they are downstairs again (i.e. it has a red stripe across it at first sight that disappears).

Continuity: In the shot of the Goonies running to the attic upstairs, you can plainly see that it is not raining or stormy outside. When they enter the attic (barely seconds later), it's already raining outside along with the thunder and lightning.

Continuity: At the end when the father is about to sign the contract, and right about the part where Rosalita starts screaming in Spanish, the first page of the contract is folded up a little. In the very next shot, all the pages of the contract are flat.

Continuity: Right after Troy is humiliated at the wishing well, the movie cuts to a television food program, with Sloth's reflection visible in it. The problem is that Sloth's face is noticeably different in this reflection than the rest of the film. For instance, his left eye is only a bit lower than his right eye now, instead of it being considerably lower like it usually is.

Continuity: When Chunk kicks over the frame with Chestor Copperpot, it then shows his arm picking up the frame. The arm/hand shown in the close-up is an adult's, which is older-looking and hairier than Chunk's very young, chubby arm/hand.

Continuity: When Mikey takes the skull necklace off Chester Copperpot, he accidentally pulls Chester's skull off his body. When Mikey does this, the skull is still touching the body, just detached and at the wrong angle. But the next shot we see with the skull, when Brand goes to place the skull back on the body, the skull is about a foot away from the body.

Revealing: When Chunk opens the freezer in the Fratelli hideout to get the ice cream, if you look closely at the old dead man he moves his eyes several times between standing upright and falling over, and when he and Chunk are in the freezer together.

Continuity: When Mr. Perkins delivers the papers to Brand at the house, the men are holding umbrellas. The umbrella handle on the left is facing outward, but after it cuts to Brand then back to the men, it is facing inward and then changes again after another angle change.

Continuity: In the scene where Mikey, Data, Mouth and Chunk enter the restaurant, when Mama Fratelli asks, "What do ya want?" Jake Fratelli is behind them with his hand on their shoulders. When the angle changes Jake Fratelli is at the back of the restaurant walking away.

Audio problem: When all the kids are in the kitchen Mikey pulls out his map and starts talking. Even though his mouth is hidden the whole time you can still tell, when looking at his face, he isn't really talking.

Revealing: When the floor crumbles from under Mouth we see a shot looking up from the pit to him leaning back trying to keep his balance. If you look closely you can see him kneeling on the ground helping him to lean back further.

Continuity: In the attic scene, right when Mikey scolds Mouth for ruining the painting, you can see Brand standing next to the plasma lamp which is turned off. In the next shot of Brand reading the book, the plasma lamp is on.

Other: In the Summer Place scene, after Mama Fratelli sets down four glasses of "colored" water for the boys to drink. The next camera angle shows Mouth wiggling his glass in the air as he retorts, "We're supposed to drink this?", Mama snaps back, "It's wet isn't it? Drink it." If you look closely for 2 seconds you can see Corey Feldman is trying very hard to not smirk at this line, while struggling to stay in-character, as Mikey and Data say their next lines.

Other: In the bone organ scene, before playing the last note, Andy says that she doesn't know if it's an A sharp or a B flat. On a piano or organ with the standard keyboard (and there is no reason to think that this organ uses anything else) these notes are the same and played with the same key.

Other: When Data puts his tape in the stereo he shuts the thing then the 007 music plays. He doesn't ever push play.

Other: When Data shoots a suction cup at Mrs. Fratelli's gun you can see Mouth in the background with his mouth open. Later Mrs. Fratelli pulls a ridiculous amount of jewels out of his now full mouth. DVD commentary offers an explanation to this, but it IS still a mistake.

Revealing: When all of the Goonie kids run upstairs to the attic, they rush past the camera, and you can see the image wobble slightly, as if one of them jostled the cameraman.

Revealing: When Francis Fratelli is trying to pick up the gun as the Goonies are escaping from the organ, you can see the rocks shaking each time he drops the gun on the ground.

Continuity: When Mikey punches through the boards leading into the room with the treasure, you can see light coming through the opening. This could not be possible since there's a door on top of the opening that should block out any light.

Continuity: When Mouth returns downstairs with Rosalita and Mikey's mom, Chunk already has the statue he broke turned away so no one will see, in the next shot he turns the statue away from everyone's view.

Continuity: At the country club, when Troy is going into the bathroom stall we can see the back and front cover of the 'Guns & Ammo' magazine he is looking at, but when he hears the noise and looks around he is holding a different issue of the 'Guns & Ammo' magazine.

Factual error: As Stef is stepping down the fireplace, you can see that her Nike swooshes are drawn on her shoes. Nike never made shoes like that. Converse made them for a couple years in the 80s.

Factual error: When Mouth flattens the tires on Brand's bike, all he does to let the air out is take the valve caps off. There's actually a valve in the valve stem that needs to be depressed to let the air out. The cap is just there to keep dirt out of the valve, simply taking it off wouldn't let the air out.

Other: When Mouth is examining the coins in the well scene, if you look closely he keeps on dropping the same coin in his hand then picking it up to examine it again. Also note that the penny he first examines is practically the size of a half dollar coin.

Revealing: When the bats escape from the fireplace, it's obvious they are just black pieces of material.

Continuity: When the boys reach the attic Brand fixes the flickering lightbulb. Then they show a shot of Mikey and Mouth and you see Brand fixing the flickering lightbulb again in the background.

Continuity: When the Fratellis are trying to get information from Chunk, the amount of juice in the blender changes between shots.

Factual error: The Goonies are from Astoria, but they ride their bikes to Cannon Beach; this is where the Lighthouse Lounge is, a distance of over 30 miles. When they descend in the tunnels below the lounge, they supposedly go under Astoria Country Club and Moss Garden. This would be impossible.

Continuity: When Sloth is trying to reach for the Baby Ruth, the candy bar's position and the way it faces changes between shots.

Continuity: When Chunk waits for the gate to open after doing the 'truffle shuffle', a red balloon starts to blow up, but next shot it's a pink balloon that pops.

Continuity: When Data is being dragged by the sticky dart in the opening sequence, the camera angle changes from in front to behind, and suddenly the distance between Data and the oil drum dramatically increases even though he is moving towards it.