Luke Y. Thompson
New Times (L.A.)
Though not as visually impressive as comparable Terry Gilliam fare such as Jabberwocky, the verbal wit is fast and abundant (abetted with cameos by Billy Crystal, Peter Cook and Mel Smith), and you'd better believe the midnight movie crowd will remember almost all of it.
Los Angeles Times
It's Patinkin who scores a special triumph. In his role there's a poignant strain of weariness beneath the leaping bravado, a pain under the braggadocio. [25 Sept 1987]
A percolating comedy. The laughs may not tear your belly up, but they're constant and they dovetail with the story.
Not even the crude ethnic humor--Billy Crystal's Mel Brooks-ish Miracle Max--pricks the dream bubble, and the spirited cast has a field day.
The New York Times
Mr. Reiner seems to understand exactly what Mr. Goldman loves about stories of this kind, and he conveys it with clarity and affection. [25 Sept 1987, p.C10]
The Princess Bride wants to be sweet and warm, but it doesn't want to take the chance of seeming uncool -- and that is an attitude far, far removed from innocence. [9 Oct 1987]
Reiner's penchant for hip little riffs -- Billy Crystal as a yiddish wizard, etc. -- dilutes primal power in favor of genial fun.
Crystal is such a panic - and normally uptight Patinkin is so attractively relaxed as a Spanish swordsman - that Bride's charms just can't be ignored. [25 Sept 1987]
The Globe and Mail (Toronto)
Rob Reiner's not up to it: when the movie is meant to be romantic, the tone is frequently mushy and sexless, and when it's meant to be anachronistic and satiric, it's vaudeville-vulgar.
San Francisco Chronicle
Kinda cute, occasionally amusing and very, very slow... I just wish [it] had more momentum, more oomph. [9 Oct 1987]