Critic scores range from 0 to 100, with higher scores indicating more favorable reviews.
The Lost Boys remains a supremely watchable example of something the '80s did right. Read full review
The Lost Boys is to horror movies what ''Late Night With David Letterman'' is to television; it laughs at the form it embraces, adds a rock-and-roll soundtrack and, if you share its serious-satiric attitude, manages to be very funny. Read full review
The Lost Boys mixes comedy and horror with a dexterity that augments each. Dracula and Peter Pan were antipodal products of the same society: bringing them together has resulted in a marriage that would make Bram Stoker snicker and J.M. Barrie bawl. [1 Aug 1987, p.C5] Read full review
The Lost Boys is schlock, but it's juicy schlock. [31 Jul 1987, p.34] Read full review
The Lost Boys is a horror movie that's funny without making fun of itself and scary without trying to make you sick. [31 Jul 1987, p.86] Read full review
There's some good stuff in the movie, including a cast that's good right down the line and a willingness to have some fun with teenage culture in the Mass Murder Capital. But when everything is all over, there's nothing to leave the theater with - no real horrors, no real dread, no real imagination - just technique at the service of formula. Read full review
Part horror, part comedy, THE LOST BOYS is a vampire thriller that brings some interesting twists to the genre, but is nearly defeated by director Joel Schumacher's heavy-handed efforts to bring an MTV-like sensibility to the traditionally gothic material. Despite its flaws, however, the film is an interesting addition to vampire cinema. Read full review
Schumacher's work in The Lost Boys consists of turning undertones into overtones--of taking the latent, the implied and the mysterious, and turning them into the loud and the obvious. He takes a story and turns it into a bunch of scenes, each of which contains its own payoff and none of which seems to draw on what has come before. And in these days of concept films, a story is a terrible thing to waste. [31 Jul 1987, p.D] Read full review
Director Joel Schumacher, whose pastel color schemes vitalized St. Elmo's Fire, gives this a sensual, at times even erotic, sheen. And a few subplot issues - single motherhood, runaway kids, midlife dating - hint that at least someone involved with this project intended to go after bigger game. [31 Jul 1987, p.4D] Read full review
Maybe the worst part (there's so much to choose from) is the sight of a good actor like Edward Herrmann parading around looking like a demented quarterback, the shoulders of his suit jacket grotesquely padded. Mr. Schumacher has dressed the adorable Corey Haim in even weirder getups, jackets with pastel stripes and little outfits that resemble dresses. The vampires aren't nearly as creepy as those clothes. [6 Aug 1987, p.1] Read full review
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