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Critic scores range from 0 to 100, with higher scores indicating more favorable reviews.
Unpretentious as it is, Big takes you beyond laughter, to where you live. And there's nothing small about that. [3 Jun 1988, p.1D] Read full review
Big is an example of what has become rare in Hollywood -- a self-confident comedy that transforms an old gimmick into a new, vivid experience. It's as funny for the kids as it is for adults and, for that reason alone, can't be recommended too highly. [3 Jun 1988, p.33] Read full review
I am glad to be able to say that all these clever and talented people have actually come up with the goods. The biggest goodie is Tom Hanks as the little boy after his wish has been granted. Much of the comedy in this movie is physical. Without forcing the matter Mr. Hanks has a startling ability to take on the mannerisms and facial expressions of an adolescent. [2 Jun 1988, p.1] Read full review
Big is never condescending to or smuttily smirky about kids. And it doesn't make fun of grownups, either. It just feels sorry for them a little. [3 Jun 1988, p.n37] Read full review
The greatest thing about Big is that its makers have known how to end it in a thoroughly satisfying fashion, which is always the challenge-and often the stumbling block-of fantasy. In never confusing what is child-like with childishness, Big is actually a refreshingly grown-up comedy-for the entire family. [3 Jun 1988, p.1] Read full review
Big features believable young teen-age mannerisms from the two real boys in its cast, and this only makes Mr. Hanks's funny, flawless impression that much more adorable. This really is the performance to beat. Read full review
A 13-year-old junior high kid Josh (David Moscow) is transformed into a 35-year-old's body (Tom Hanks) by a carnival wishing machine in this pic which unspools with enjoyable genuineness and ingenuity. Read full review
Sappiness and romance always are fine with me, and Big is a good example of a movie that effortlessly blends sweetness and fun - it feels a little like stumbling on a picnic of smiles. [3 Jun 1988, p.E1] Read full review
Big has a warmhearted sweetness that's invigorating; it makes you want to break out the Legos. It's only near the end of the film, when Hanks has to play the scenes for pathos, that the movie becomes cloying. Read full review
It's too involved in administering its reversion fantasy to acquisition-guilty yuppies to cast an eye on its own venture status. And the contradictions don't stop there. That this celebration of the Peter Pan syndrome was directed by a woman, Penny Marshall, adds another layer of dishonesty. [3 Jun 1988, p.31] Read full review