Avaliações do Metacritic

In Wildcats, Hawn remains a pre-eminently delicious comedienne, even if the notion of a "Goldie Hawn movie" is becoming perilously predictable. [17 Feb 1986, p.68]

This is another of the iron-buttercup roles in which Miss Hawn has been specializing since ''Private Benjamin,'' films in which her inspired dizziness masks an unexpectedly strong will. Initially, that contrast was delightful. But it has begun to seem less and less funny as Miss Hawn's films develop a preachier edge.

I suppose there's not much point at this late date to complain about how all movies look and sound alike today, how dull stretches in the story are pumped up with loud music, how handy, so-called "comic" hooks (one character has a flatulence problem, another will do anything for sex, another will do anything for money) have taken the place of characterization, how directors don't even try anymore to create a real milieu. [15 Feb 1986, p.G6]

Goldie's inspirational shot at playing Sly Stallone and Burgess Meredith is undone by the trite, inner-city Hollywood context she always favours. Instead of 'believe in yourself', the message becomes simply 'make believe'.

Despite some exuberant football action, a pair of buoyant rock-sound-track montage scenes and a tidy, uplifting finale, Wildcats is a disappointingly timid fable. It’s refreshing to see a strong-willed female character like McGrath, who’s loaded with grit and determination. But she’s surrounded by so many cardboard figures--her ex-husband is a cowardly worm, her rival football coach a wild-eyed chauvinist--that her triumph has the hollow ring of comic melodrama.

Michael Ritchie’s direction lacks his usual bite and eye for detail. There is nothing spontaneous about the action and football footage is also surprisingly dull.

Wildcats is clearly an attempt by Hawn to repeat a formula that was wonderfully successful in "Private Benjamin": Wide-eyed Goldie copes with the real world. It was less successful in "Protocol," and now it's worn out altogether.

Silly but not always funny, WILDCATS relies too much on Hawn's familiar screen persona, getting little mileage from the actress' "serious" moments, yet it manages to provide more than a chuckle or two.

The most interesting story about this movie would be the amount of money Hawn and Sylbert got paid for ripping off ''Private Benjamin,'' and how they managed to lure the usually talented director Michael Ritchie (''The Candidate,'' ''Smile'') into joining their caper. Their story of wheeling and dealing would make a more exciting movie than ''Wildcats,'' which concludes with--you`ll never guess--a championship game between Goldie`s dirty two-dozen and the seemingly invincible crosstown rivals....Believe me: The tension will send you immediately to the candy counter.

The knock on movies like Wildcats used to be that they belong not on the big screen, but on TV. But times have changed. Wildcats isn't good television, either. It's just Goldie Hawn's latest. [10 March 1986, p.C6]