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Y'know, I mean, do what you like. I'm not your mum. | 0:00:10 | 0:00:13 | |
Hello, and welcome to Movie Mistakes 2: The Sequel. | 0:00:37 | 0:00:41 | |
Like any sequel, we're bigger, louder, | 0:00:41 | 0:00:43 | |
and most snobs are going to say we're not as good as the first one. | 0:00:43 | 0:00:47 | |
Well, that's not true, because our crack team of celluloid super-geeks | 0:00:47 | 0:00:50 | |
have outdone themselves by trawling this year's top movies | 0:00:50 | 0:00:54 | |
alongside some revered classics | 0:00:54 | 0:00:56 | |
to compile a brand-new collection of cinematic clunkers. | 0:00:56 | 0:00:59 | |
Oh, and apparently, in order to compete with the latest movie fad, | 0:00:59 | 0:01:03 | |
we've got to do something 3D, so please put on your 3D glasses now | 0:01:03 | 0:01:07 | |
and prepare to get your mind blown. | 0:01:07 | 0:01:10 | |
OK, ready? | 0:01:10 | 0:01:11 | |
Whoo! Whoo! Oh! Whoo! | 0:01:11 | 0:01:13 | |
There. Take that, Avatar. | 0:01:16 | 0:01:19 | |
Now you can take your 3D glasses off, cos you look ridiculous. Oh. | 0:01:19 | 0:01:23 | |
Right, let's get on with it. | 0:01:23 | 0:01:25 | |
On tonight's show: | 0:01:25 | 0:01:27 | |
It's always reassuring to see that even the rich and powerful Hollywood gods | 0:01:37 | 0:01:41 | |
make mistakes like us mere mortals. | 0:01:41 | 0:01:43 | |
It's even more reassuring that they're on film, so we can point them out and laugh at them. | 0:01:43 | 0:01:47 | |
Ha-ha! In your face, Hollywood! | 0:01:47 | 0:01:49 | |
That said, if there are any powerful Hollywood directors watching, | 0:01:49 | 0:01:53 | |
I am available for work. | 0:01:53 | 0:01:54 | |
The new Karate Kid, and here's Jaden Smith off to China | 0:01:55 | 0:02:00 | |
on plane number B-2460. | 0:02:00 | 0:02:02 | |
Only thing is, the plane that lands is B-2443. | 0:02:07 | 0:02:11 | |
You may be the son of a superstar, Smith, but that's "plane" wrong. | 0:02:11 | 0:02:15 | |
Plane wrong! | 0:02:15 | 0:02:17 | |
The film is all about a young American boy | 0:02:19 | 0:02:22 | |
learning the basics of martial arts - | 0:02:22 | 0:02:24 | |
control, standing on one leg up a mountain... | 0:02:24 | 0:02:27 | |
Teasing deadly snakes. | 0:02:27 | 0:02:30 | |
But can you spot this kung-fu clanger? | 0:02:30 | 0:02:33 | |
Notice there are four bars on the outside of this window. | 0:02:33 | 0:02:37 | |
Now wait for it... | 0:02:37 | 0:02:39 | |
Ooh, here comes Jackie Chan. | 0:02:39 | 0:02:41 | |
He's spotted the problem. | 0:02:41 | 0:02:44 | |
Yep, on the inside there are eight bars. | 0:02:44 | 0:02:47 | |
Appalling. | 0:02:47 | 0:02:49 | |
# ..Instead of daisies | 0:02:51 | 0:02:53 | |
# I don't know, though What do you think? # | 0:02:53 | 0:02:58 | |
Now to the macabre musical Sweeney Todd. | 0:02:58 | 0:03:01 | |
Tim Burton is truly the master of atmosphere. | 0:03:01 | 0:03:04 | |
Everything looks atmospheric...even that modern plastic water bottle. | 0:03:04 | 0:03:08 | |
-Still, at least Johnny Depp isn't singing. -I'm sorry. Excuse me. | 0:03:08 | 0:03:12 | |
-# She was beautiful... # -Ah, here's Johnny Depp singing. | 0:03:14 | 0:03:18 | |
# Foolish barber and his wife | 0:03:18 | 0:03:20 | |
# She was his reason and his life And she was beautiful... # | 0:03:20 | 0:03:25 | |
But we're interested in this baby's bottom, | 0:03:25 | 0:03:28 | |
because it's covered in a 21st-century disposable nappy. | 0:03:28 | 0:03:31 | |
Now that's a bum note. | 0:03:31 | 0:03:35 | |
St Trinian's, and here's a girl so upset with her phone contract | 0:03:38 | 0:03:42 | |
she plays hockey with her mobile. | 0:03:42 | 0:03:45 | |
But if we slow it right down, you can see the phone | 0:03:45 | 0:03:48 | |
suddenly disappears in the last shot and the head explodes all by itself. | 0:03:48 | 0:03:52 | |
Legally Blonde 2, and a sped-up sunrise. | 0:03:59 | 0:04:02 | |
That's all good and fine, but when we go back to real time, | 0:04:02 | 0:04:05 | |
the sun's reflection is still speeded up in the window. | 0:04:05 | 0:04:09 | |
Time to legislate! | 0:04:09 | 0:04:10 | |
How does that work? Hm? Eh? Heh? Uh? | 0:04:10 | 0:04:13 | |
A driving scene from Vanilla Sky, but something isn't quite right. | 0:04:15 | 0:04:19 | |
I'm talking about the fact | 0:04:19 | 0:04:21 | |
that the car is clearly on a high flatbed truck, | 0:04:21 | 0:04:24 | |
because everything in the background is much lower, including all the other cars. | 0:04:24 | 0:04:29 | |
Got to think about it. | 0:04:30 | 0:04:32 | |
Probably the first time Tom Cruise has towered above anything. | 0:04:32 | 0:04:35 | |
Don't tell anybody where I am. | 0:04:35 | 0:04:37 | |
The unconscious Argentinian suffered from a sickness called narcolepsy. | 0:04:39 | 0:04:41 | |
Perfectly fine one moment then suddenly unconscious the next. | 0:04:41 | 0:04:45 | |
It's Moulin Rouge now. Director Baz Luhrmann uses the old trick | 0:04:45 | 0:04:48 | |
of making an actor kneel on some shoes to make him look really short. | 0:04:48 | 0:04:51 | |
Unfortunately, it's not so good when filmed from above - | 0:04:51 | 0:04:55 | |
fake shoes on knees and real feet. | 0:04:55 | 0:04:58 | |
Right, Toulouse, I still have to finish the music. | 0:04:58 | 0:05:01 | |
Here's that same short character, | 0:05:03 | 0:05:05 | |
Toulouse-Lautrec, in a musical number. | 0:05:05 | 0:05:08 | |
Nice bit of fairy work from Kylie. | 0:05:11 | 0:05:13 | |
We were off to the Moulin Rouge. | 0:05:13 | 0:05:16 | |
By this point, they'd given up on the kneeling thing. | 0:05:16 | 0:05:19 | |
Now he's got knee pads on and he's just standing in a hole. | 0:05:19 | 0:05:22 | |
For Satine! | 0:05:22 | 0:05:25 | |
Yeah! | 0:05:25 | 0:05:27 | |
The thought-provoking film Crash asks a lot of questions, such as | 0:05:33 | 0:05:37 | |
how do you turn off a light without actually touching the switch? | 0:05:37 | 0:05:40 | |
Let's see that again. | 0:05:44 | 0:05:46 | |
Nope, still don't know how that's done. | 0:05:50 | 0:05:52 | |
Yeah, I ordered. | 0:05:54 | 0:05:55 | |
Here's movie hunk Robert Pattinson | 0:05:55 | 0:05:57 | |
showing us a fabulous magic trick with his cup of coffee. | 0:05:57 | 0:06:01 | |
First adds some sugar, then stirs it. | 0:06:01 | 0:06:04 | |
We throw in make-up, toiletries, cell-phone chargers... | 0:06:04 | 0:06:07 | |
And now it's a cigarette. Ta-da! | 0:06:07 | 0:06:09 | |
-And it's vanished again. -Then we do an infomercial. | 0:06:09 | 0:06:12 | |
And it's back again! Ta-da! | 0:06:12 | 0:06:14 | |
Provide us with actual money? | 0:06:14 | 0:06:16 | |
He goes to light it... | 0:06:16 | 0:06:19 | |
and for the big finale... | 0:06:19 | 0:06:21 | |
it's a coffee cup again! | 0:06:21 | 0:06:23 | |
Made more sense when he was a rubbish vampire. | 0:06:23 | 0:06:25 | |
Next, we come to another classic movie mistake - crew in shot. | 0:06:27 | 0:06:31 | |
I once saw a classic example of crew in shot. | 0:06:31 | 0:06:34 | |
That's because the film was shot in the Cheshire town of Crewe. | 0:06:34 | 0:06:38 | |
But seriously! I'm talking about when the film crew end up on screen, | 0:06:38 | 0:06:42 | |
which is ridiculous, because they're not as important as us actors. | 0:06:42 | 0:06:47 | |
OK, OK, I'm sorry, they're just as important. | 0:06:47 | 0:06:51 | |
No, they're not. Roll VT. | 0:06:51 | 0:06:53 | |
Here's Cuba Gooding Jnr wondering what he's done to deserve a role | 0:06:55 | 0:06:59 | |
in cinematic turkey Pearl Harbor. | 0:06:59 | 0:07:01 | |
But keep your eyes on the left of the screen. | 0:07:01 | 0:07:04 | |
That's no navy crewman, that's a film crewman with a remote control for the camera. | 0:07:04 | 0:07:08 | |
Martin Scorsese's masterpiece Taxi Driver, and it appears that | 0:07:16 | 0:07:19 | |
Travis Bickle has noticed something out of his window. | 0:07:19 | 0:07:22 | |
Maybe it's someone looking at him. He really hates people looking at him. | 0:07:22 | 0:07:26 | |
Hang on, who was that? Let's see that again. | 0:07:28 | 0:07:31 | |
It's the reflection of the cameraman and the guy pushing the dolly. | 0:07:33 | 0:07:37 | |
They really were looking at him. | 0:07:37 | 0:07:39 | |
They say that great art holds a mirror up to life. | 0:07:41 | 0:07:45 | |
-Hey, where do you want this? -Uh, in the bedroom. | 0:07:45 | 0:07:48 | |
But in the movie Ghost, they're holding up a mirror to the film crew. There they are. | 0:07:48 | 0:07:52 | |
OK, we'll let them off that one mistake. | 0:07:52 | 0:07:55 | |
-Hang on, there's a lighting stand in the shot, too. -Like it, huh? | 0:07:55 | 0:07:59 | |
Like? "Like" is hardly the word. | 0:07:59 | 0:08:01 | |
Oh, well, they're only human. | 0:08:01 | 0:08:03 | |
Apart from the ghost. He's a ghost. | 0:08:03 | 0:08:05 | |
Here's Surrogates. | 0:08:09 | 0:08:11 | |
In this film, everyone has a robotic copy of themselves. | 0:08:11 | 0:08:14 | |
So don't worry, all these people falling over are just robots. | 0:08:14 | 0:08:18 | |
All robots. | 0:08:18 | 0:08:20 | |
Apart from the film crew standing round the corner. | 0:08:20 | 0:08:22 | |
They're not robots. They're idiots. | 0:08:22 | 0:08:25 | |
Here's Steven Spielberg's classic film Duel. | 0:08:30 | 0:08:33 | |
How do actors know when to start acting? | 0:08:33 | 0:08:35 | |
It's when Steven tells them to. | 0:08:35 | 0:08:38 | |
Watch his hand in the corner. | 0:08:38 | 0:08:39 | |
And action! Let's see that again in slow motion. | 0:08:39 | 0:08:43 | |
Ac-tion... | 0:08:44 | 0:08:47 | |
Alfred Hitchcock used to have cameos in his films, | 0:08:49 | 0:08:52 | |
so it's no surprise that Spielberg wanted to do the same. | 0:08:52 | 0:08:55 | |
Actually, he didn't want to - | 0:08:55 | 0:08:57 | |
he just stood right in front of the shiny, reflective phone booth. | 0:08:57 | 0:09:02 | |
Hi, Steve! | 0:09:02 | 0:09:03 | |
Now Ridley Scott's film American Gangster. | 0:09:05 | 0:09:08 | |
Ridley is famed for his hard work, so you can forgive him | 0:09:08 | 0:09:12 | |
putting his feet up and watching a bit of telly. | 0:09:12 | 0:09:15 | |
There he is. | 0:09:15 | 0:09:16 | |
And God bless the Unites States... | 0:09:20 | 0:09:22 | |
This is the Triple Rock Baptist Church | 0:09:22 | 0:09:24 | |
from the film The Blues Brothers, but even the frantic dancing | 0:09:24 | 0:09:27 | |
can't distract you from a crew member blatantly running through the back of shot. | 0:09:27 | 0:09:32 | |
Not so much Blues Brothers as "Where's the nearest loos, brothers?" | 0:09:32 | 0:09:36 | |
I just thought of that myself. | 0:09:36 | 0:09:37 | |
-# So exciting, the audience will... # -Baz Luhrmann captured the look, | 0:09:40 | 0:09:44 | |
the feel and the spirit of a 1900s Parisian cabaret in Moulin Rouge. | 0:09:44 | 0:09:49 | |
He also managed to capture a stage hand wearing | 0:09:52 | 0:09:54 | |
a baseball cap and wristwatch swinging this actor back and forth. | 0:09:54 | 0:09:59 | |
Hey, Mum, I told you I'd make it in showbiz! | 0:09:59 | 0:10:01 | |
Finally, it's Charlie and the Chocolate Factory. | 0:10:04 | 0:10:06 | |
You know, they're always telling you what to do, what not to do, | 0:10:06 | 0:10:09 | |
and it's not conducive to a creative atmosphere. | 0:10:09 | 0:10:11 | |
The great thing about a remake | 0:10:11 | 0:10:13 | |
is that you can use technological advances to eliminate all mistakes. | 0:10:13 | 0:10:16 | |
Or you can just lob some whopping great glasses on Johnny Depp | 0:10:16 | 0:10:20 | |
and see a camera in the reflection. Either's good. | 0:10:20 | 0:10:23 | |
If you don't believe me, you should ask. | 0:10:23 | 0:10:25 | |
I've always found it easy to tell my left from my right | 0:10:27 | 0:10:30 | |
by using the simple system of not being an idiot. | 0:10:30 | 0:10:33 | |
But movie makers seem to mix them up all the time. | 0:10:33 | 0:10:36 | |
It's not just stupid, it's dangerous, too. | 0:10:36 | 0:10:39 | |
I found this out the hard way during a particularly aggressive round of the hokey-cokey, | 0:10:39 | 0:10:43 | |
when I put my left foot in to the face of my ten-year-old niece. | 0:10:43 | 0:10:47 | |
I cross my heart you'll never catch me making that sort of mistake again. | 0:10:47 | 0:10:52 | |
Holly. Holly. | 0:10:54 | 0:10:56 | |
Holly. | 0:10:58 | 0:11:00 | |
Yes! Holly! | 0:11:00 | 0:11:02 | |
First up, we have Land of the Lost, a comedy about a little hairy man | 0:11:02 | 0:11:06 | |
who touches people inappropriately. | 0:11:06 | 0:11:08 | |
Anyway, watch the hand, not the boob. | 0:11:08 | 0:11:11 | |
-Chaka. -Chaka? | 0:11:11 | 0:11:14 | |
The left hand on Anna Friel, and now it's suddenly the right hand. | 0:11:14 | 0:11:17 | |
Clever monkey. | 0:11:17 | 0:11:19 | |
Wi-ill. Will. | 0:11:19 | 0:11:23 | |
Val Kilmer now, an actor so mesmerising | 0:11:25 | 0:11:27 | |
he can make you forget which side is which. | 0:11:27 | 0:11:30 | |
It's not a long shot. Harry, you're not listening to me! | 0:11:30 | 0:11:32 | |
-Harry? Harry! -What? | 0:11:32 | 0:11:34 | |
The left hand on Robert Downey's mouth...and now it's the right. | 0:11:34 | 0:11:38 | |
That's some seriously powerful acting. | 0:11:38 | 0:11:40 | |
Next up, it's horror classic Silence of the Lambs, | 0:11:43 | 0:11:47 | |
and take a look at this door. | 0:11:47 | 0:11:49 | |
The handle's on the right. Right? | 0:11:49 | 0:11:51 | |
This film makes everything unsettling, | 0:11:56 | 0:11:58 | |
even changing which side the door opens on. | 0:11:58 | 0:12:01 | |
Creepy! Boo! | 0:12:04 | 0:12:07 | |
Ah, The Hangover. | 0:12:09 | 0:12:11 | |
We've all been there. | 0:12:11 | 0:12:12 | |
A big, crazy night out and you don't know what you're doing... | 0:12:12 | 0:12:15 | |
..and I happen to find 80,000 worth of Bellagio... | 0:12:17 | 0:12:19 | |
You hold something in your right hand, | 0:12:19 | 0:12:22 | |
and suddenly it's in your left. | 0:12:22 | 0:12:24 | |
Whoo, yeah, we're...American! | 0:12:26 | 0:12:29 | |
Here's everyone's second-favourite magical babysitter, Nanny McPhee. | 0:12:31 | 0:12:35 | |
Oh, look, she's making statues come to life. | 0:12:37 | 0:12:40 | |
Not as impressive, though, as making the sidecar | 0:12:40 | 0:12:43 | |
go from the left of the bike to the right. | 0:12:43 | 0:12:47 | |
See? Even the lion's disgusted at this movie mistake. | 0:12:47 | 0:12:51 | |
Sean Penn now in this Oscar-winning performance as Harvey Milk. | 0:12:53 | 0:12:56 | |
A powder-blue pen to sign the city's first gay-rights law. | 0:12:56 | 0:13:01 | |
But don't watch that Penn, watch this one. | 0:13:01 | 0:13:04 | |
The suity bloke holds it in his left hand... | 0:13:04 | 0:13:07 | |
..substantive move for civil rights. | 0:13:07 | 0:13:09 | |
..but he signs with his right hand. | 0:13:09 | 0:13:12 | |
Right old load of old nonsense, more like. | 0:13:12 | 0:13:15 | |
Here are the two stars of Fired Up - I can't recall their names - | 0:13:18 | 0:13:22 | |
presumably running away from a massive horde of fans. | 0:13:22 | 0:13:25 | |
When they jump over the wall, blondie is on the right. | 0:13:25 | 0:13:28 | |
But in the water, they switch places, and he's now on the left, | 0:13:28 | 0:13:32 | |
echoing my thoughts when I watched Fired Up. | 0:13:32 | 0:13:35 | |
I wanted to swap places with someone not watching Fired Up. | 0:13:35 | 0:13:40 | |
-Hey. I'm Nick. -Shawn. -Can we use your pool? | 0:13:40 | 0:13:43 | |
Finally, a clip from the movie Very Bad Things, starring Cameron Diaz. | 0:13:45 | 0:13:49 | |
Cameron's no stranger to very bad things herself. | 0:13:49 | 0:13:54 | |
In this scene, she's just read the script | 0:13:54 | 0:13:56 | |
for Charlie's Angels 2: Full Throttle. | 0:13:56 | 0:13:58 | |
But keep an eye on the spray and the brush. | 0:13:58 | 0:14:01 | |
As they fade from a crane shot to a helicopter shot, | 0:14:01 | 0:14:04 | |
they've suddenly switched. | 0:14:04 | 0:14:06 | |
Well done, Cameron, you've been upstaged by cleaning products. | 0:14:06 | 0:14:10 | |
I love superheroes. | 0:14:12 | 0:14:14 | |
Not normal, real-life heroes - you know, "Ooh, look at me, I saved a child from a burning building." | 0:14:14 | 0:14:19 | |
Big deal. Learn to fly, then I'll be interested. | 0:14:19 | 0:14:22 | |
I've always wanted to be a superhero, Web Man, who fires webs | 0:14:22 | 0:14:26 | |
out of his wrists and uses them to swing from building to building. I can't believe no-one's done that. | 0:14:26 | 0:14:31 | |
I think my favourite, though, must be Christian Bale in The Dark Knight. | 0:14:31 | 0:14:34 | |
His main enemy is actually another superhero - not Superman or Spider-Man, but Lighting Man. | 0:14:34 | 0:14:40 | |
"Ooh, I'm doing a scene here, and this guys walks right through my set with his lights. Ner ner ner! | 0:14:40 | 0:14:46 | |
"I'm all distracted." Tch! Superheroes! | 0:14:46 | 0:14:50 | |
Here's everyone's least favourite Superman, Brandon Routh, | 0:14:53 | 0:14:58 | |
showing off in front of a crowd of people. | 0:14:58 | 0:15:00 | |
Keep an eye on that pristine taxi on the ground. | 0:15:00 | 0:15:04 | |
As soon as Superman gets anywhere near it, it's all smashed up. | 0:15:10 | 0:15:14 | |
Oh, well, at least no harm will come to any more cars. | 0:15:14 | 0:15:18 | |
Ah. | 0:15:18 | 0:15:20 | |
A baseball game now, but what's that? | 0:15:22 | 0:15:25 | |
Is it a bird? Is it a plane? Yeah, it's a plane. Well done. | 0:15:28 | 0:15:33 | |
But where have all the baseball players gone? | 0:15:33 | 0:15:36 | |
Ah, there they are. | 0:15:36 | 0:15:38 | |
No, they're all gone again. | 0:15:38 | 0:15:40 | |
Y'know, there's really nothing super about that at all. | 0:15:40 | 0:15:44 | |
Put the plane down and sort out your movie. | 0:15:44 | 0:15:47 | |
Next up, it's Catwoman and Batman | 0:15:49 | 0:15:51 | |
going at it like cats and, er, bats on this rooftop. | 0:15:51 | 0:15:55 | |
The reassuring thing about this scene is that if there's a fire, | 0:15:55 | 0:15:58 | |
they can use the fire-escape ladder to climb down to safety. | 0:15:58 | 0:16:01 | |
But holy changeroonies, Batman, where's the ladder gone? | 0:16:01 | 0:16:06 | |
-Get up, man. -How could you? I'm a woman! | 0:16:06 | 0:16:10 | |
Catwoman's back home, still upset about the last continuity error. | 0:16:13 | 0:16:17 | |
You may have already noticed | 0:16:17 | 0:16:18 | |
there's no frying pan on the stove there. | 0:16:18 | 0:16:21 | |
Ooh, you know that frying pan that wasn't there a minute ago? | 0:16:28 | 0:16:31 | |
Now it is. | 0:16:31 | 0:16:34 | |
Me-ow! | 0:16:34 | 0:16:36 | |
Batman Begins now, and keep an eye on the walking stick | 0:16:38 | 0:16:41 | |
over baddie Liam Neeson's shoulder. | 0:16:41 | 0:16:44 | |
Now you see it, now you don't. | 0:16:44 | 0:16:46 | |
That's ninja skills, that is. | 0:16:46 | 0:16:47 | |
You simply walk up behind them and stab them in the heart. | 0:16:49 | 0:16:52 | |
Quick, watch Bruce Wayne make this man vanish. | 0:16:52 | 0:16:56 | |
Smash! And he's gone. | 0:16:56 | 0:16:57 | |
Disappeared. Incredible. | 0:16:57 | 0:16:59 | |
I am going to stop you. | 0:16:59 | 0:17:01 | |
Here's the pivotal moment when Peter Parker is bitten | 0:17:07 | 0:17:09 | |
by a genetically modified spider, turning him into Spider-Man. | 0:17:09 | 0:17:13 | |
I'm surprised his Spidey senses aren't tingling | 0:17:13 | 0:17:16 | |
to tell him that he's being watched - | 0:17:16 | 0:17:18 | |
by a member of the film crew reflected in this TV screen. | 0:17:18 | 0:17:20 | |
There he is. | 0:17:20 | 0:17:23 | |
If you're watching, why didn't you swat that spider, mate? Honestly! | 0:17:23 | 0:17:27 | |
This cop is performing the not-quite-messianic feat | 0:17:29 | 0:17:33 | |
of walking on sand without sinking. | 0:17:33 | 0:17:35 | |
Not as impressive as it seems, actually, because | 0:17:35 | 0:17:38 | |
you can see the edge of the wooden platform that's been installed. | 0:17:38 | 0:17:41 | |
Still, he should be punished for such a revealing special effect. | 0:17:43 | 0:17:47 | |
Ooh! That's not what I had in mind. | 0:17:47 | 0:17:49 | |
And now my windscreen's ruined. | 0:17:49 | 0:17:51 | |
Oh, no, it's been fixed. | 0:17:51 | 0:17:54 | |
Autoglass really are quick. | 0:17:54 | 0:17:56 | |
Look! | 0:17:58 | 0:17:59 | |
In this clip, the villain isn't the Sandman but the Child Catcher, | 0:17:59 | 0:18:03 | |
by the look of things. Keep an eye on this fireman. | 0:18:03 | 0:18:05 | |
He picks up a small boy. | 0:18:05 | 0:18:07 | |
And he picks up a small boy. | 0:18:14 | 0:18:16 | |
And then he picks up a small boy. | 0:18:19 | 0:18:22 | |
Never mind Spider-Man, someone call social services! | 0:18:24 | 0:18:27 | |
I'm such a huge fan of yours. I didn't want to... | 0:18:29 | 0:18:33 | |
Here's a clip from Iron Man 2, | 0:18:33 | 0:18:35 | |
starring veteran actor Mickey Rourke. | 0:18:35 | 0:18:37 | |
Notice there's no toothpick in his mouth. | 0:18:37 | 0:18:41 | |
I only mention it because Rourke is renowned for his legendary toothpick work. | 0:18:41 | 0:18:45 | |
Oui, oui. I'm fine. | 0:18:45 | 0:18:47 | |
No toothpick. | 0:18:49 | 0:18:51 | |
And there's the toothpick, out of nowhere! | 0:18:51 | 0:18:53 | |
Please sit. | 0:18:53 | 0:18:54 | |
If only he'd been that picky about some of his movie roles. | 0:18:54 | 0:18:57 | |
Here's the Iron Man himself, Tony Stark, opening the Stark Expo. | 0:18:59 | 0:19:04 | |
Notice how he's dressed for the occasion, | 0:19:04 | 0:19:06 | |
complete with a white shirt and bow tie. | 0:19:06 | 0:19:08 | |
Please welcome my father Howard. | 0:19:08 | 0:19:10 | |
Everything is achievable through technology. | 0:19:12 | 0:19:16 | |
Well, he doesn't leave the stage during the presentation, | 0:19:16 | 0:19:19 | |
but before you can say "Robert Downey Jnr", here he is wearing a black shirt. Tch! | 0:19:19 | 0:19:23 | |
Could've used an iron, man. | 0:19:23 | 0:19:26 | |
Transformers, a series of films in which a variety of motor vehicles | 0:19:28 | 0:19:33 | |
turn into a variety of robots. | 0:19:33 | 0:19:35 | |
I'd love a car that turns into a robot. | 0:19:35 | 0:19:37 | |
The only thing my car's ever turned into is my drive. I don't really have a drive. | 0:19:37 | 0:19:42 | |
The films were directed by Michael Bay, | 0:19:42 | 0:19:44 | |
a man who loves action so much even his diarrhoea is explosive. | 0:19:44 | 0:19:48 | |
And they star Shia LaBeouf, a man who's no stranger to mistakes | 0:19:48 | 0:19:52 | |
after his parents chose to call him Shia LaBeouf. | 0:19:52 | 0:19:55 | |
Translated into English, his name means "Look at these terrible movie mistakes...LaBeouf." | 0:19:55 | 0:20:00 | |
-Mikaela, do not touch it, OK? -All kinds of things transform | 0:20:00 | 0:20:04 | |
in these films, such as the empty space on the floor. | 0:20:04 | 0:20:08 | |
You're hot, but you ain't so bright. | 0:20:10 | 0:20:13 | |
Suddenly, here's some cigar boxes. | 0:20:13 | 0:20:16 | |
-That'll work. -And a couple of mousetraps. | 0:20:16 | 0:20:18 | |
-Oh! -Clever, yeah? | 0:20:18 | 0:20:20 | |
No, it's awful. | 0:20:20 | 0:20:22 | |
What are you looking at, slobber puss? | 0:20:22 | 0:20:25 | |
Egypt and Jordan, like the tip of a blade. | 0:20:27 | 0:20:29 | |
29.5 degrees north, 35 east. Here it is. | 0:20:29 | 0:20:33 | |
Here's Shia LaBeouf speeding through the Egyptian desert. | 0:20:33 | 0:20:36 | |
But don't let the Pyramids distract you, | 0:20:36 | 0:20:38 | |
because that's the shadow of the camera van driving alongside. | 0:20:38 | 0:20:42 | |
We got the cops. | 0:20:45 | 0:20:46 | |
Rule one when talking to a huge, angry robot: | 0:20:50 | 0:20:53 | |
concentrate on what he's saying. | 0:20:53 | 0:20:55 | |
Come here, boy. | 0:20:55 | 0:20:57 | |
And don't move around. First Shia's at the top of the stairs... | 0:20:57 | 0:21:00 | |
You remember me? | 0:21:00 | 0:21:02 | |
..now he's halfway down. | 0:21:02 | 0:21:04 | |
He's jumped from here to here. | 0:21:04 | 0:21:07 | |
-Just don't hurt her. -And he's moved again, from here to here. | 0:21:08 | 0:21:14 | |
That'll teach him. | 0:21:15 | 0:21:18 | |
You going to wear handcuffs? | 0:21:20 | 0:21:21 | |
Watch out for Shia's hoodie in this scene. | 0:21:21 | 0:21:23 | |
One moment it's off... | 0:21:23 | 0:21:26 | |
This is real. | 0:21:26 | 0:21:27 | |
..and now it's on. | 0:21:29 | 0:21:31 | |
I have a record, because I went and turned my dad in. | 0:21:31 | 0:21:34 | |
When have you had to sacrifice anything in your perfect little life? | 0:21:34 | 0:21:38 | |
Still on. Tense moment. | 0:21:38 | 0:21:40 | |
Big guys. Big guys with big guns. | 0:21:40 | 0:21:41 | |
And now it's half off. | 0:21:41 | 0:21:43 | |
-Answer me! -A clip that features self-removing clothes, | 0:21:43 | 0:21:46 | |
and none of them on Megan Fox. Unbelievable. | 0:21:46 | 0:21:50 | |
Here we see our heroes getting hot and bothered in the desert. | 0:21:54 | 0:21:58 | |
Shia's trying to cool off, waving his jacket around like a madman. | 0:21:58 | 0:22:02 | |
And suddenly, it's gone. | 0:22:08 | 0:22:10 | |
Shame - it was 30 quid from Top Man. | 0:22:10 | 0:22:14 | |
But don't fret, jacket fans, the next scene it's back in his hands. | 0:22:14 | 0:22:18 | |
He should really "jacket" in. | 0:22:18 | 0:22:21 | |
Here's a gripping action scene from director Michael Bay. | 0:22:23 | 0:22:26 | |
The wheels on the bus don't so much go round and round | 0:22:26 | 0:22:29 | |
as explode in a fiery ball of metal and human flesh. | 0:22:29 | 0:22:32 | |
I say "human flesh", but looking at the clip again, | 0:22:32 | 0:22:35 | |
we see that the bus doesn't have any passengers or even seats, | 0:22:35 | 0:22:39 | |
just a dummy driver. | 0:22:39 | 0:22:40 | |
It's as empty as a local cinema showing a Shia LaBeouf-a-thon. | 0:22:40 | 0:22:44 | |
Obviously, actors don't do all their own acting themselves. | 0:22:47 | 0:22:50 | |
Sometimes they're replaced with a body double or even a dummy. | 0:22:50 | 0:22:53 | |
It's ridiculous. You can't replace talent with a dummy. | 0:22:53 | 0:22:56 | |
Isn't that right, David Mitchell? | 0:22:56 | 0:22:57 | |
"That's right, Robert. | 0:22:57 | 0:22:59 | |
"Although I should say, you were always the talented one." | 0:22:59 | 0:23:02 | |
See? I never use a body double. | 0:23:02 | 0:23:04 | |
Why would I, when I've got a body like this? | 0:23:04 | 0:23:07 | |
You're going to put in a six-pack in Post, yeah? | 0:23:08 | 0:23:11 | |
Cheers. | 0:23:11 | 0:23:14 | |
First up, it's '80s classic Fatal Attraction. | 0:23:15 | 0:23:18 | |
Here we see Michael Douglas having a bit of rough and tumble | 0:23:18 | 0:23:21 | |
with original bunny boiler Glenn Close. | 0:23:21 | 0:23:23 | |
Ooh, wait - that's not Michael Douglas. | 0:23:25 | 0:23:27 | |
Let's have another look at him. | 0:23:34 | 0:23:36 | |
Wait for it. | 0:23:36 | 0:23:38 | |
Hang on, is that Jerry Seinfeld? | 0:23:38 | 0:23:41 | |
Well, it looks more like him than Michael Douglas. | 0:23:41 | 0:23:44 | |
Work's probably dried up since the sitcom finished. | 0:23:44 | 0:23:46 | |
Don't turn that engine on, I swear to God. | 0:23:48 | 0:23:51 | |
This scene from Role Models features Ronnie, a small boy stealing a car. | 0:23:51 | 0:23:56 | |
If there's anything funnier | 0:23:56 | 0:23:57 | |
than children recklessly endangering their own lives, | 0:23:57 | 0:24:00 | |
I don't know what it is. | 0:24:00 | 0:24:02 | |
But don't worry, all the actual driving is being done | 0:24:02 | 0:24:04 | |
by a much taller, fully road-legal stuntman. | 0:24:04 | 0:24:08 | |
Kids, eh? They grow up so fast. | 0:24:08 | 0:24:10 | |
What are you doing?! | 0:24:10 | 0:24:12 | |
When you love someone, you've got to trust them. There's no other way. | 0:24:17 | 0:24:21 | |
Casino, a cinema classic. | 0:24:21 | 0:24:24 | |
In this opening scene, director Martin Scorsese gambled that nobody | 0:24:24 | 0:24:28 | |
would spot him replacing Robert De Niro with a rubbish plastic dummy. | 0:24:28 | 0:24:32 | |
..kinda love I had. | 0:24:32 | 0:24:33 | |
Did you spot it? | 0:24:35 | 0:24:37 | |
Bobby De Niro. | 0:24:37 | 0:24:39 | |
Booby De Niro! No dice, Scorsese. | 0:24:39 | 0:24:43 | |
No, it's not Dancing on Ice, it's edgy thriller Ronin. | 0:24:46 | 0:24:50 | |
I've always thought that ice skating | 0:24:50 | 0:24:52 | |
was a popular sport, but apparently not. | 0:24:52 | 0:24:54 | |
Look, they've had to fill out the audience with cardboard cut-outs. | 0:24:57 | 0:25:01 | |
There we are. That's it, mate, take a closer look. | 0:25:01 | 0:25:04 | |
Thomas Jefferson once shot a man on the White House lawn for treason. | 0:25:06 | 0:25:09 | |
Speaking of cardboard characters, | 0:25:09 | 0:25:11 | |
here's John Travolta, up to his old tricks in the movie Swordfish... | 0:25:11 | 0:25:15 | |
..shooting guys and blowing up people. | 0:25:18 | 0:25:20 | |
Ooh, but that's not a people, it's another dodgy lookalike dummy. | 0:25:23 | 0:25:27 | |
Those guys should really avoid cars altogether. | 0:25:27 | 0:25:30 | |
The Blues Brothers - all singing, all dancing, | 0:25:34 | 0:25:37 | |
and all couldn't be bothered to turn up for the crowd scene. | 0:25:37 | 0:25:41 | |
Those are actually two mannequins at the back. Typical. | 0:25:43 | 0:25:47 | |
Saline solution... | 0:25:49 | 0:25:51 | |
Now, most people's legs would turn to jelly | 0:25:51 | 0:25:53 | |
if they were about to be tortured by Gerard Butler. | 0:25:53 | 0:25:56 | |
But this guy's left foot has turned to rubber... | 0:25:56 | 0:26:00 | |
Comfortable? | 0:26:00 | 0:26:01 | |
..because it's fake. | 0:26:01 | 0:26:04 | |
-Boing! -You are shaking. | 0:26:04 | 0:26:06 | |
Are you sure you're all right? | 0:26:06 | 0:26:08 | |
Next up is Avatar, the worldwide blockbuster that asks an age-old question - | 0:26:11 | 0:26:16 | |
what if giant Smurfs with pointy ears could control flying dragons with their tails | 0:26:16 | 0:26:20 | |
and make a tree go all glowy and...? | 0:26:20 | 0:26:22 | |
Yeah, I didn't understand it, either. And it was so long. | 0:26:22 | 0:26:25 | |
James Cameron, take a leaf out of your brother David's book and make some harsh cuts. | 0:26:25 | 0:26:30 | |
If I want to spend three hours in a darkened room wearing a pair of cheap plastic glasses, | 0:26:30 | 0:26:34 | |
I'll go to a tanning salon. | 0:26:34 | 0:26:36 | |
Avatar is set in the mythical world of Pandora | 0:26:38 | 0:26:42 | |
and features a Pandora's box full of movie mistakes, | 0:26:42 | 0:26:45 | |
such as combining the plots of FernGully and Pocahontas. | 0:26:45 | 0:26:48 | |
In this scene, Neytiri's ponytail is out of sight over her shoulder. | 0:26:50 | 0:26:55 | |
Then it's on her back. | 0:26:56 | 0:26:58 | |
And when she goes to plug it into her dragon/horse, | 0:27:03 | 0:27:06 | |
it's round her front again. | 0:27:06 | 0:27:09 | |
-Is not horse. -Ooh, well, excuse me! | 0:27:09 | 0:27:12 | |
-You are clear to... -This guy may be the corporate baddie of the film, | 0:27:13 | 0:27:17 | |
but he's got incredible golf skills. | 0:27:17 | 0:27:19 | |
He can move balls without touching them. | 0:27:19 | 0:27:22 | |
First, the two balls are close together. | 0:27:22 | 0:27:24 | |
You were looking at the monitor. | 0:27:24 | 0:27:26 | |
I love this putter, Ronnie. | 0:27:26 | 0:27:28 | |
I love this putter. | 0:27:28 | 0:27:30 | |
-Next, they're far apart. -Parker! | 0:27:30 | 0:27:33 | |
You know, I used to think it was benign neglect, | 0:27:33 | 0:27:36 | |
but now I see that you're intentionally screwing me. | 0:27:36 | 0:27:39 | |
Grace, you know, I enjoy our little talks. | 0:27:39 | 0:27:43 | |
Then they're back together. | 0:27:43 | 0:27:45 | |
-Oops. -This is wrong in all three dimensions. | 0:27:45 | 0:27:48 | |
..not some jarhead dropout. | 0:27:48 | 0:27:50 | |
Here we see Jake return from his avatar to the real world, | 0:27:53 | 0:27:56 | |
the boring old real world, where mystical things don't exist... | 0:27:56 | 0:28:00 | |
like Sigourney's hand magically moving from his arm | 0:28:00 | 0:28:04 | |
to his shoulder...back to his arm. | 0:28:04 | 0:28:07 | |
Avatar? 'Ave a word with yourself, Mr Cameron. | 0:28:07 | 0:28:11 | |
And it happens again. Watch - Jake's arms start on the table. | 0:28:13 | 0:28:17 | |
-That's called taking the initiative, son. -Now they're on his wheelchair. | 0:28:17 | 0:28:20 | |
Look, Sully, Sully, just find out... | 0:28:20 | 0:28:22 | |
Now they're out straight. | 0:28:22 | 0:28:24 | |
Now bent. | 0:28:24 | 0:28:26 | |
Now straight again. | 0:28:26 | 0:28:28 | |
Honestly, it makes me turn blue with rage. | 0:28:28 | 0:28:32 | |
Here's a big fight from the end of the film. | 0:28:34 | 0:28:39 | |
Have a look at Colonel Quaritch in his cockpit. | 0:28:39 | 0:28:43 | |
There's a wing mirror right at the back, behind his head. | 0:28:43 | 0:28:46 | |
Notice how the front strut is completely mirrorless. | 0:28:46 | 0:28:48 | |
But then suddenly... | 0:28:51 | 0:28:53 | |
Hello! A mirror right by that strut and clearly in front of his head. | 0:28:53 | 0:28:58 | |
A bit of high tension in the jungle. | 0:28:58 | 0:29:00 | |
No mirror in front of him here. | 0:29:00 | 0:29:03 | |
Still no mirror in front of him... | 0:29:03 | 0:29:05 | |
And hello, a handy mirror to see a horsey dragon | 0:29:05 | 0:29:09 | |
attacking his giant robot. | 0:29:09 | 0:29:11 | |
Let's look now at continuity errors, those tiny little mistakes | 0:29:17 | 0:29:21 | |
that film-makers fail to spot, | 0:29:21 | 0:29:23 | |
so there are small changes in scenery or props, | 0:29:23 | 0:29:26 | |
costume or even hair that make the scene almost unwatchable. | 0:29:26 | 0:29:30 | |
All right, you get the idea. | 0:29:30 | 0:29:32 | |
Two hours it's taken us to film this 30-second link. Two hours! | 0:29:32 | 0:29:36 | |
I hope you're happy. | 0:29:36 | 0:29:37 | |
It's wrinkle-fest Wild Hogs. | 0:29:41 | 0:29:43 | |
That's going to stain. Ha! | 0:29:43 | 0:29:46 | |
The tough guy at the back | 0:29:46 | 0:29:47 | |
has mustard all over his forehead, nose and cheek. | 0:29:47 | 0:29:51 | |
Spicy! | 0:29:51 | 0:29:53 | |
But in the next shot, his face is practically clean. | 0:29:54 | 0:29:58 | |
When the director saw this, he was furious, according to my "sauces". | 0:29:58 | 0:30:02 | |
Ha-ha! Sauces! | 0:30:02 | 0:30:04 | |
Shallow Hal now, and a scene-stealing performance | 0:30:06 | 0:30:09 | |
from Jack Black's towel. | 0:30:09 | 0:30:11 | |
She's got cankles, for God's sake! | 0:30:11 | 0:30:13 | |
-First it's in his hand. -What? | 0:30:13 | 0:30:15 | |
Cankles! She's got no ankles. It's like the calf merged with the foot. | 0:30:15 | 0:30:18 | |
Now it's on his neck. | 0:30:18 | 0:30:20 | |
-I know what cankles are! Rosemary doesn't have them. -Now it's gone. | 0:30:20 | 0:30:24 | |
I know what you're doing here. | 0:30:24 | 0:30:27 | |
-You're scared. -Scared of getting upstaged by a towel. -Yep. | 0:30:27 | 0:30:31 | |
Ocean's 13 here, with a spectacular spectacle gaffe. | 0:30:33 | 0:30:36 | |
No, not Brad's glasses. Watch Pacino's. | 0:30:36 | 0:30:40 | |
-I don't want this thing on my desk. -On his face. | 0:30:40 | 0:30:42 | |
-Then they're gone. -I'll tell you what you don't want - | 0:30:42 | 0:30:45 | |
-your hotel on the cover of Time magazine. -And now they're back. | 0:30:45 | 0:30:49 | |
Whoo-ha, what a mistake! | 0:30:49 | 0:30:51 | |
If I belonged to a group known as the Losers, | 0:30:53 | 0:30:57 | |
I'd probably not play cards. | 0:30:57 | 0:30:59 | |
But keep your eyes on the guy with glasses. | 0:30:59 | 0:31:01 | |
-His card has a picture of a woman. She's lying down. -What? | 0:31:01 | 0:31:05 | |
All right. Let's go. | 0:31:05 | 0:31:08 | |
-Standing up. -I will raise you. -You don't want to do that. -Oh, no? | 0:31:08 | 0:31:14 | |
-..that piece you got off that Honduran general. -Lying down again. | 0:31:14 | 0:31:17 | |
-Who's the loser now, Losers? -I'm definitely in. | 0:31:17 | 0:31:19 | |
-Come now, Stu. You can feel it. -Phone Booth. Gritty thriller. | 0:31:21 | 0:31:26 | |
Colin Farrell on a worn and tattered phone. | 0:31:26 | 0:31:29 | |
Anyway, he spends the whole film nattering away. | 0:31:29 | 0:31:32 | |
And by the end, the sticker is brand-new again. | 0:31:32 | 0:31:36 | |
Phone booth or TARDIS? | 0:31:36 | 0:31:38 | |
It's the killers that get the cover of Time magazine. Right? | 0:31:38 | 0:31:42 | |
TARDIS, I reckon, because at the start of the movie, | 0:31:44 | 0:31:47 | |
he takes his wedding ring off. | 0:31:47 | 0:31:48 | |
That old trick, eh, Colin? | 0:31:48 | 0:31:51 | |
A bit later, it's still off... | 0:31:51 | 0:31:54 | |
Look, it's our friends from Channels 2 and 5, your local news, Stu. | 0:31:54 | 0:31:59 | |
You could never do this for any of your clients. | 0:31:59 | 0:32:01 | |
..and then magically pops back on his finger again. Make your mind up, man. | 0:32:01 | 0:32:05 | |
Stick your head out a little so they can get a better angle. | 0:32:05 | 0:32:08 | |
Ah, we've all been in this position before. | 0:32:10 | 0:32:12 | |
Hey! Hey there! | 0:32:12 | 0:32:15 | |
What are you doing there? Oh, no, no, no, no, wait, it's OK. | 0:32:15 | 0:32:18 | |
Stranger danger! Stranger danger! | 0:32:18 | 0:32:20 | |
But watch the toilet roll as it comes out of the bin. | 0:32:20 | 0:32:23 | |
In this shot, it's clean. | 0:32:23 | 0:32:26 | |
And now it's covered in debris. | 0:32:26 | 0:32:28 | |
Toilet roll - clean one minute, filthy the next. Nothing new there. | 0:32:28 | 0:32:33 | |
An audition scene in Bruno now, but it's the cowboy hat | 0:32:36 | 0:32:40 | |
-on the back of the door that's making all the right moves. -Hello. | 0:32:40 | 0:32:44 | |
I'm looking for my vife! | 0:32:44 | 0:32:46 | |
-Shaddap, women. -It's moved. -Fine. | 0:32:48 | 0:32:50 | |
I couldn't hear your woice... | 0:32:50 | 0:32:52 | |
And it's moved again. | 0:32:52 | 0:32:54 | |
..or laugh about it vith you. | 0:32:54 | 0:32:57 | |
Should call it Bor-hat. Hur! | 0:32:57 | 0:32:59 | |
Here we see Will Smith literally in The Pursuit of Happyness. | 0:33:02 | 0:33:07 | |
-Don't move. Don't move! -Doesn't he realise it's an unachievable goal? | 0:33:07 | 0:33:11 | |
When he says, "Don't move," | 0:33:11 | 0:33:12 | |
he's actually talking to that green sticker on the side of the train. | 0:33:12 | 0:33:16 | |
See it? Maybe that's the key to happiness. | 0:33:16 | 0:33:19 | |
-Oh, unlucky, Will, it's gone. -Stop the train! | 0:33:19 | 0:33:23 | |
Ah, the car chase, that old movie chestnut. | 0:33:25 | 0:33:29 | |
You never see them in real life, do you? | 0:33:29 | 0:33:31 | |
The closest I've ever come is desperately needing the loo | 0:33:31 | 0:33:34 | |
and being 15 miles away from Toddington services. | 0:33:34 | 0:33:37 | |
And if you think movie chases end messily, you should have seen what I left on the hard shoulder of the M1! | 0:33:37 | 0:33:42 | |
Well, let's have a look at some car-based clunkers | 0:33:42 | 0:33:45 | |
in a section I'm calling The Steering Wheel of Misfortune. | 0:33:45 | 0:33:49 | |
What? Oh. | 0:33:49 | 0:33:52 | |
Apparently I'm not calling it that, I'm calling it Great Car Chase Mistakes. | 0:33:52 | 0:33:56 | |
Would it kill them to listen to my ideas just once in a while? | 0:33:56 | 0:33:59 | |
Jamie Foxx and Tom Cruise in Collateral here, | 0:33:59 | 0:34:03 | |
about to have an almighty car crash. | 0:34:03 | 0:34:05 | |
But don't get too distracted by the taxi flipping over... | 0:34:07 | 0:34:10 | |
..because what's this? | 0:34:12 | 0:34:13 | |
Has someone left a bag on the road? | 0:34:13 | 0:34:16 | |
No, that'll be a badly hidden camera filming the close-up shot. | 0:34:16 | 0:34:20 | |
There it is. | 0:34:20 | 0:34:21 | |
Maybe it was left there by someone who gets a kick out of filming car crashes. | 0:34:21 | 0:34:26 | |
Probably waiting for George Michael. | 0:34:26 | 0:34:28 | |
A classic car chase from Mission: Impossible II. | 0:34:31 | 0:34:35 | |
Even Ethan Hunt knows that | 0:34:35 | 0:34:36 | |
it's good health and safety practice to buckle up, | 0:34:36 | 0:34:40 | |
especially when you're driving like a maniac. | 0:34:40 | 0:34:43 | |
Hang on, the safety belt's gone again. | 0:34:43 | 0:34:45 | |
No, you're definitely not wearing it, Tom, you fibber. | 0:34:49 | 0:34:51 | |
Who would've thought that Tom Cruise was capable of telling the world a massive lie? | 0:34:54 | 0:34:58 | |
Oh, no, hang on, it's back on again. | 0:35:05 | 0:35:07 | |
Much better. Tom, I take it all back and apologise. | 0:35:07 | 0:35:11 | |
No! | 0:35:11 | 0:35:12 | |
If the world does end in 2012, at least it'd stop John Cusack | 0:35:15 | 0:35:19 | |
making any more shocking disaster movies. | 0:35:19 | 0:35:22 | |
Here he is, saving his family and his wife's new husband, | 0:35:22 | 0:35:25 | |
who appears to be played by me. | 0:35:25 | 0:35:27 | |
I don't remember doing that. | 0:35:27 | 0:35:29 | |
First he knocked my Porsche into a hole in the ground. | 0:35:30 | 0:35:33 | |
Ooh, look how annoyed I am. | 0:35:33 | 0:35:36 | |
Sorry. | 0:35:36 | 0:35:37 | |
But then, as he drives away, the hole and my lovely Porsche | 0:35:37 | 0:35:40 | |
have completely disappeared. Cusack! | 0:35:40 | 0:35:44 | |
This film is called Race To Witch Mountain. | 0:35:47 | 0:35:50 | |
To me, that sounds like the sort of question a confused hiker might ask. | 0:35:50 | 0:35:53 | |
"Which mountain?" | 0:35:53 | 0:35:55 | |
Just look at that bumper. Ooh, it's all smashed up. | 0:35:55 | 0:35:58 | |
But don't worry, this is Dwayne "The Rock" Johnson driving, | 0:35:58 | 0:36:02 | |
so suddenly it's all fixed! | 0:36:02 | 0:36:04 | |
So the big question is not "Which mountain?" | 0:36:04 | 0:36:07 | |
but "Why am I watching this nonsense?" | 0:36:07 | 0:36:10 | |
Here's a masterclass in gaffe-ridden car chases | 0:36:13 | 0:36:16 | |
from the master, John Landis. | 0:36:16 | 0:36:19 | |
First, there's the barely hidden ramp | 0:36:19 | 0:36:21 | |
that sends the cop car tilting off to one side. | 0:36:21 | 0:36:25 | |
Then there are the slide marks ahead of the upside-down car. | 0:36:25 | 0:36:29 | |
You've done this before, haven't you? | 0:36:29 | 0:36:31 | |
Best of all is the very obvious turntable underneath, | 0:36:36 | 0:36:40 | |
making the car spin round. | 0:36:40 | 0:36:42 | |
Did I say best of all? | 0:36:42 | 0:36:44 | |
There's always time for a gormless extra to smash into the camera. | 0:36:44 | 0:36:49 | |
Smash! Textbook. | 0:36:49 | 0:36:51 | |
Take the wheel. | 0:36:53 | 0:36:55 | |
Now another spot of movie magic, this time from Swordfish. | 0:36:57 | 0:37:01 | |
And I really mean magic. | 0:37:01 | 0:37:04 | |
Look closely as this car literally takes off. | 0:37:04 | 0:37:07 | |
The ramp it drove up has been removed in the edit. | 0:37:07 | 0:37:10 | |
Prepare for lift-off. | 0:37:12 | 0:37:14 | |
And crash. | 0:37:14 | 0:37:16 | |
More movie nonsense now with The Taking of Pelham 123. | 0:37:19 | 0:37:23 | |
Check out this police car's lights | 0:37:23 | 0:37:25 | |
getting smashed off as it rolls over. | 0:37:25 | 0:37:27 | |
Look out! | 0:37:27 | 0:37:30 | |
Yeah, definitely gone. | 0:37:30 | 0:37:32 | |
And now, all of a sudden, | 0:37:36 | 0:37:38 | |
they're back again. | 0:37:38 | 0:37:40 | |
How convenient. Actually, nothing about that is convenient. | 0:37:40 | 0:37:44 | |
Bond! James Bond! | 0:37:46 | 0:37:48 | |
His appeal is the exotic locations, the beautiful women | 0:37:48 | 0:37:51 | |
and the fancy cars, but he is after all a civil servant, | 0:37:51 | 0:37:54 | |
and even Bond' style is bound to be cramped in this age of government spending cuts. | 0:37:54 | 0:37:58 | |
"How do you like your martini, Mr Bond?" "Er, buy one, get one free? | 0:37:58 | 0:38:03 | |
"I haven't got much money, Penny..." | 0:38:03 | 0:38:05 | |
I am, of course, joking. | 0:38:05 | 0:38:07 | |
The Bond films are based on a series of books by Ian Fleming. What a guy. | 0:38:07 | 0:38:11 | |
Yeah, writing spy novels and discovering penicillin. | 0:38:11 | 0:38:14 | |
Unfortunately, he is also responsible for 22 films' worth of movie mistakes. | 0:38:14 | 0:38:20 | |
Let's start at the beginning - Sean Connery in Dr No. | 0:38:20 | 0:38:24 | |
Bond is waiting to knock someone off with his silenced weapon. | 0:38:24 | 0:38:29 | |
Notice he's wearing a tie. Did I say tie? No tie. | 0:38:29 | 0:38:33 | |
You can't be sherioush. | 0:38:33 | 0:38:35 | |
Another classic scene, Connery and Ursula Andress on the beach | 0:38:38 | 0:38:41 | |
being shot at and shouted at by a man with a megaphone. | 0:38:41 | 0:38:45 | |
Are you coming out? | 0:38:45 | 0:38:46 | |
But here's the gaffe. When the shouty man removes the megaphone, | 0:38:46 | 0:38:50 | |
he still has a megaphone voice. | 0:38:50 | 0:38:52 | |
..be back with the dogs! | 0:38:52 | 0:38:53 | |
-Full speed ahead. -MEGAPHONE: No need to shout, mate. | 0:38:53 | 0:38:57 | |
Say what you like about Roger Moore, | 0:38:59 | 0:39:01 | |
he could take a kick in the face like no other Bond... | 0:39:01 | 0:39:04 | |
..probably because when it was face-kicking time, | 0:39:06 | 0:39:09 | |
he had a very unconvincing stuntman take his place. | 0:39:09 | 0:39:13 | |
Right in the kisser. | 0:39:13 | 0:39:16 | |
Here's the iconic opening | 0:39:21 | 0:39:23 | |
from Brosnan's first Bond outing, GoldenEye, | 0:39:23 | 0:39:26 | |
with some freestyle dam-diving. | 0:39:26 | 0:39:29 | |
Notice how there's no snow anywhere to be seen. | 0:39:31 | 0:39:34 | |
It actually looks quite warm and sunny. | 0:39:34 | 0:39:36 | |
He's covertly breaking into an army base at the bottom, by the way. | 0:39:37 | 0:39:41 | |
But a little later, when Bond emerges from the base, | 0:39:45 | 0:39:49 | |
it's suddenly the middle of winter, with snow all over the ground. | 0:39:49 | 0:39:53 | |
Oh, and he's right at the top of a mountain, | 0:39:54 | 0:39:57 | |
not at the bottom of a dam. Dam it, Bond! | 0:39:57 | 0:40:00 | |
Here's Alan Cumming as supergeek Boris Grishenko. | 0:40:04 | 0:40:09 | |
He's such a lovely man. Butter wouldn't melt in his mouth. | 0:40:09 | 0:40:12 | |
Or snow. | 0:40:12 | 0:40:13 | |
That's because it isn't real snow, it's very non-melty fake snow. | 0:40:13 | 0:40:18 | |
Come on, Cumming... | 0:40:18 | 0:40:20 | |
Bond's in a bit of a pickle here - | 0:40:25 | 0:40:27 | |
well, a helicopter ejector seat, to be precise. | 0:40:27 | 0:40:30 | |
Luckily, he's got those two lovely white parachutes | 0:40:33 | 0:40:37 | |
to bring him down to safety. | 0:40:37 | 0:40:39 | |
Did I say white? Sorry, I meant red and white. | 0:40:42 | 0:40:47 | |
The things we do for frequent-flyer mileage. | 0:40:47 | 0:40:51 | |
Oh, Pierce, you joker! | 0:40:51 | 0:40:52 | |
My side is literally splitting. | 0:40:52 | 0:40:55 | |
Now Martin Scorsese's Shutter Island. Shutter Island? | 0:40:57 | 0:41:01 | |
They should shut down the whole film there are so many gaffes! | 0:41:01 | 0:41:05 | |
In this movie thriller, nothing is what it seems. | 0:41:05 | 0:41:08 | |
Is this an asylum? Are you crazy? | 0:41:08 | 0:41:10 | |
Am I crazy? I most certainly am! | 0:41:10 | 0:41:12 | |
Crazy about all the mistakes we've been able to find. | 0:41:12 | 0:41:15 | |
I'm going to go and put on a straitjacket and get my medication | 0:41:15 | 0:41:19 | |
from Nursey while you watch these unhinged clangers. | 0:41:19 | 0:41:23 | |
It's the boat over to Shutter Island, | 0:41:23 | 0:41:25 | |
a prison for the criminally insane! | 0:41:25 | 0:41:27 | |
Four people died. | 0:41:27 | 0:41:29 | |
It was the smoke that got them, not the fire. | 0:41:29 | 0:41:31 | |
Perhaps a quick cigarette to calm the nerves. There it goes. | 0:41:31 | 0:41:36 | |
Hang on, pop it in again. | 0:41:36 | 0:41:38 | |
Maybe I AM the one going insane. | 0:41:38 | 0:41:41 | |
-A little more prone to seasickness. -Ah, dehydration. | 0:41:43 | 0:41:46 | |
-You all right, boss? -Yeah. | 0:41:46 | 0:41:48 | |
-In that case, you're right. -Watch the glass in Leo's hand. | 0:41:48 | 0:41:51 | |
Swallow it down, Leo. | 0:41:51 | 0:41:53 | |
When I said swallow, I meant the pill, not the glass as well. | 0:41:53 | 0:41:57 | |
And one more time. | 0:41:57 | 0:41:59 | |
Glass, no glass. Crazy! | 0:41:59 | 0:42:02 | |
There's no way we can cross those rocks. | 0:42:04 | 0:42:07 | |
Here, Mark Ruffalo ruffles around in his pocket for a bit of paper. | 0:42:07 | 0:42:10 | |
But in the next shot, he's ruffling around all over again. | 0:42:10 | 0:42:14 | |
Talk about building your part up, Ruffalo. | 0:42:14 | 0:42:16 | |
Which they said repeatedly doesn't exist! | 0:42:16 | 0:42:19 | |
I'm getting to that lighthouse. | 0:42:19 | 0:42:21 | |
I don't know what this ugly fella's in prison for. | 0:42:23 | 0:42:26 | |
Perhaps pickpocketing. | 0:42:26 | 0:42:28 | |
He's certainly able to move his hands without us noticing. | 0:42:28 | 0:42:31 | |
They're on the top bar... | 0:42:31 | 0:42:33 | |
-..then the bottom bar. -But you're wrong, you're wrong. -Oh? | 0:42:35 | 0:42:39 | |
Really? Been alone much since you got here? | 0:42:39 | 0:42:43 | |
-Back on that bar... -I've been with my partner. | 0:42:43 | 0:42:46 | |
..back on his head. | 0:42:46 | 0:42:48 | |
Mental! | 0:42:48 | 0:42:50 | |
Easy. | 0:42:50 | 0:42:51 | |
Leo's got Max von Sydow up against a wall. | 0:42:53 | 0:42:56 | |
What are you going to do, kill me? | 0:42:56 | 0:42:59 | |
But look at this reverse shot. | 0:42:59 | 0:43:02 | |
Why is the syringe further away? Where's the wall? | 0:43:02 | 0:43:06 | |
Why is Leo looking up at him in the right shot, | 0:43:06 | 0:43:09 | |
but looking down at a shorter man on the left? | 0:43:09 | 0:43:12 | |
For what? Hm? | 0:43:12 | 0:43:13 | |
From the back, it looks more like Bruce Forsyth than Max von Sydow. | 0:43:13 | 0:43:17 | |
Good game, good game. | 0:43:17 | 0:43:19 | |
Come in out of the rain, lads. | 0:43:26 | 0:43:27 | |
And now for the greatest mystery of Shutter Island, | 0:43:27 | 0:43:31 | |
the legend of Ruffalo's disappearing coat. | 0:43:31 | 0:43:34 | |
Where's it gone? | 0:43:34 | 0:43:36 | |
Let's see it again. | 0:43:36 | 0:43:38 | |
Jesus Christ. | 0:43:38 | 0:43:39 | |
He takes it off. And it's gone. | 0:43:39 | 0:43:41 | |
I'll have nightmares for weeks. | 0:43:41 | 0:43:44 | |
Movie folk aren't always the smartest tools in the box, | 0:43:46 | 0:43:49 | |
and this is apparent when they're asked to write something. | 0:43:49 | 0:43:52 | |
If the clips we're about to see are to be believed, then apparently, it is impossible | 0:43:52 | 0:43:57 | |
to put pen to paper on screen without making some massive error. | 0:43:57 | 0:44:00 | |
Well, if that really is true, then I've got a word for you. | 0:44:00 | 0:44:03 | |
Ooh, hang on. No, that's right. Roll the clips. | 0:44:05 | 0:44:08 | |
St Trinian's, and no, the mistake here isn't the whole movie. | 0:44:08 | 0:44:12 | |
Keep an eye on the blackboard behind Russell Brand. | 0:44:12 | 0:44:15 | |
Nothing written next to number five. | 0:44:15 | 0:44:17 | |
Search for the criminal inside yourself. Yes? | 0:44:17 | 0:44:19 | |
-TOGETHER: -Theft. | 0:44:21 | 0:44:23 | |
Then suddenly, writing has appeared on Russell's blackboardy-woardy. | 0:44:23 | 0:44:28 | |
Good work. | 0:44:28 | 0:44:29 | |
Here's a newspaper that clearly says it's from the year 1980. | 0:44:31 | 0:44:35 | |
But hold the press, what's this? | 0:44:35 | 0:44:38 | |
TheEmbreyStar.com?! | 0:44:40 | 0:44:42 | |
A web address in 1980? | 0:44:42 | 0:44:44 | |
The World Wide Web didn't exist until the 1990s. | 0:44:44 | 0:44:47 | |
Here's a film about a hotel for dogs called Hotel For Dogs. | 0:44:50 | 0:44:53 | |
One of the dogs staying at the hotel is called Henry, | 0:44:53 | 0:44:57 | |
as can be seen from his name written in green ink in the guest register. | 0:44:57 | 0:45:01 | |
Note the lovely red heart above. | 0:45:01 | 0:45:03 | |
But later in the film, when Don Cheadle reads out his name, | 0:45:03 | 0:45:07 | |
it's written in red pen and no sign of a heart. | 0:45:07 | 0:45:10 | |
Don, you're an Oscar winner. | 0:45:10 | 0:45:12 | |
You're better than this. | 0:45:12 | 0:45:14 | |
To decide that she will cheat on the math test. | 0:45:16 | 0:45:19 | |
X marks the spot here in mystery thriller Donnie Darko. | 0:45:19 | 0:45:23 | |
Good. Good, very good. | 0:45:23 | 0:45:26 | |
Mr Darko? | 0:45:26 | 0:45:27 | |
The biggest mystery, though, | 0:45:27 | 0:45:29 | |
is why that X becomes almost invisible in the next shot. | 0:45:29 | 0:45:32 | |
We'll just chalk this one up to experience. | 0:45:32 | 0:45:35 | |
Another Oscar winner now. | 0:45:37 | 0:45:39 | |
Look at the word "direktor" being written on Oskar Schindler's door. | 0:45:39 | 0:45:43 | |
But later in the film, the letters look completely different - | 0:45:43 | 0:45:47 | |
much bigger and in a different font. | 0:45:47 | 0:45:50 | |
I'm sorry, you can't blame this one on the Nazis. | 0:45:50 | 0:45:53 | |
I imagine you sitting in a dark basement room | 0:45:55 | 0:45:57 | |
bent over papers and computer screens. | 0:45:57 | 0:46:00 | |
And finally, a chilling scene from Hannibal. | 0:46:00 | 0:46:03 | |
When crazy old Dr Lecter signs his letter to Clarice Starling, | 0:46:03 | 0:46:07 | |
there is no hyphen between "Hannibal Lecter" | 0:46:07 | 0:46:10 | |
and "MD". | 0:46:10 | 0:46:12 | |
'PS Clearly...' | 0:46:13 | 0:46:15 | |
But when Starling reads the letter, there's a hyphen. | 0:46:15 | 0:46:19 | |
Someone's head should be served on a platter for this mistake. | 0:46:19 | 0:46:22 | |
Maybe with some minted peas and a nice cabernet sauvignon. | 0:46:22 | 0:46:25 | |
HE SLURPS | 0:46:25 | 0:46:26 | |
Let's talk wardrobe malfunctions. | 0:46:28 | 0:46:30 | |
And no, I don't mean getting to number 30 on your IKEA instructions | 0:46:30 | 0:46:34 | |
to find you're missing two screws and an Allen key. I hate you, IKEA. | 0:46:34 | 0:46:38 | |
I'm talking about costume. | 0:46:38 | 0:46:40 | |
Marlon Brando supposedly performed without trousers | 0:46:40 | 0:46:43 | |
to stop directors filming his big belly. | 0:46:43 | 0:46:45 | |
Demi Moore famously performed topless | 0:46:45 | 0:46:47 | |
to ensure directors would film her at all. | 0:46:47 | 0:46:50 | |
But where would we be without costume? | 0:46:50 | 0:46:52 | |
Naked, and no-one wants to see me naked. Apparently. | 0:46:52 | 0:46:57 | |
What we do want to see are these terrible costume-based clangers. | 0:46:57 | 0:47:02 | |
Nobody walks down a street like Brad Pitt, | 0:47:02 | 0:47:04 | |
and no-one can make their suit jacket vanish like him, either. | 0:47:04 | 0:47:08 | |
Now you see it, now you don't. That's just the Pitts. | 0:47:08 | 0:47:13 | |
I missed the part about where my office is. | 0:47:15 | 0:47:17 | |
If you want to be a successful lawyer, | 0:47:17 | 0:47:20 | |
you've got to accessorise properly, | 0:47:20 | 0:47:22 | |
right down to elbow-length gloves and a dog in a hat. | 0:47:22 | 0:47:25 | |
Then I am going to need a glue gun, some pinking shears... | 0:47:25 | 0:47:28 | |
Reese Witherspoon takes her gloves off, and... | 0:47:28 | 0:47:32 | |
-Ooh, they're back on again. -DOG BARKS | 0:47:32 | 0:47:34 | |
Even the dog spotted this gaffe. | 0:47:34 | 0:47:35 | |
Here's Johnny Depp about to be executed | 0:47:37 | 0:47:40 | |
for crimes against continuity. | 0:47:40 | 0:47:42 | |
Keep your eye on the hat ribbon. | 0:47:42 | 0:47:44 | |
The axe man moves it... | 0:47:44 | 0:47:45 | |
As long as I can get at your neck. | 0:47:45 | 0:47:47 | |
..and then it's back on the neck again. | 0:47:47 | 0:47:49 | |
-I'm right behind you. -Off with his head! | 0:47:49 | 0:47:53 | |
Ben Stiller is getting all dressed up | 0:47:55 | 0:47:57 | |
for his first Night at the Museum, but where's his tie? | 0:47:57 | 0:48:02 | |
Just wanted to say good luck, son. | 0:48:02 | 0:48:04 | |
And goodbye. We're clocking out for the last time. | 0:48:04 | 0:48:07 | |
Oh, there it is. Never mind. | 0:48:07 | 0:48:09 | |
Wait, you guys are going out of town? | 0:48:09 | 0:48:11 | |
-Hello, Natalie. -Hello, David. I mean, Sir. | 0:48:13 | 0:48:16 | |
Now, which tie should Hugh Grant wear to meet EastEnders' Tiffany? | 0:48:16 | 0:48:19 | |
The one with the big spots... | 0:48:19 | 0:48:21 | |
I'm so sorry, Sir. | 0:48:21 | 0:48:23 | |
..or the one with the tiny spots? | 0:48:23 | 0:48:26 | |
D'you know, I don't care. | 0:48:26 | 0:48:29 | |
Please, line up on the beach. | 0:48:31 | 0:48:34 | |
Keep your eyes on the girl in the green dress. | 0:48:34 | 0:48:37 | |
Men on one line... | 0:48:37 | 0:48:39 | |
There she is, taking off her shoes. | 0:48:39 | 0:48:42 | |
But in the next scene, they're back on. | 0:48:42 | 0:48:46 | |
Oi, love! Take 'em off! | 0:48:46 | 0:48:47 | |
Remove your mask. | 0:48:47 | 0:48:49 | |
Ooh, not you. | 0:48:49 | 0:48:51 | |
In Shallow Hal, Gwyneth Paltrow plays a fatty | 0:48:54 | 0:48:57 | |
who Jack Black sees as a fitty. Look at her shoes. | 0:48:57 | 0:49:01 | |
High heels, right? | 0:49:01 | 0:49:04 | |
Dang it! Rosemary, don't move. | 0:49:04 | 0:49:06 | |
Is your back all right? | 0:49:06 | 0:49:07 | |
-Yeah. -Is she all right? What happened here? | 0:49:07 | 0:49:09 | |
Yeah. Listen, you got to get some decent chairs in here, man. | 0:49:09 | 0:49:13 | |
-Do me a favour... -Just moments later, | 0:49:13 | 0:49:15 | |
fatty Gwyneth's shoes are completely different and flat, | 0:49:15 | 0:49:18 | |
just like Jack would be if she sat on him. | 0:49:18 | 0:49:21 | |
If you took all the women you two have gone out with, | 0:49:21 | 0:49:23 | |
put 'em together, they wouldn't equal one of her. | 0:49:23 | 0:49:25 | |
We're not arguing that! | 0:49:25 | 0:49:28 | |
Down now! | 0:49:30 | 0:49:31 | |
Pierce Brosnan's furious. No wonder, | 0:49:31 | 0:49:33 | |
he doesn't know whether to button up his jacket or not. | 0:49:33 | 0:49:36 | |
Now it's open... | 0:49:36 | 0:49:38 | |
Good God, you toss that word around... | 0:49:38 | 0:49:41 | |
..and now it's done up. | 0:49:41 | 0:49:43 | |
You wouldn't catch Bond making this kind of sartorial gaffe. | 0:49:43 | 0:49:47 | |
It's notoriously difficult to act whilst eating. If you ask me, | 0:49:49 | 0:49:53 | |
I can't see what the fuss is about. | 0:49:53 | 0:49:55 | |
I'm sorry. | 0:49:55 | 0:49:57 | |
I can't... | 0:49:57 | 0:49:59 | |
I... I can't... | 0:49:59 | 0:50:02 | |
I don't envy movie stars for their flashy houses, fast cars and beautiful girlfriends. | 0:50:05 | 0:50:10 | |
What I do envy is them having drinks that never seem to end, as these clips show. | 0:50:10 | 0:50:16 | |
Here's a classic food and drink gaffe from the film Duel. | 0:50:16 | 0:50:19 | |
Drink it. Drink it. | 0:50:19 | 0:50:22 | |
Yeah, drink it, all of it. | 0:50:23 | 0:50:25 | |
Drink all of it. | 0:50:25 | 0:50:27 | |
There you go. | 0:50:27 | 0:50:29 | |
Hang on, the glass is completely full again! | 0:50:29 | 0:50:32 | |
What if I called the local police? | 0:50:32 | 0:50:34 | |
They can't help you. | 0:50:34 | 0:50:35 | |
Ray Winstone is drinking with Mel Gibson. Always a dangerous pastime. | 0:50:37 | 0:50:42 | |
See how he leaves a good swig at the bottom of his glass. | 0:50:42 | 0:50:46 | |
But in the wide it's completely empty! | 0:50:46 | 0:50:49 | |
I think Mel finished it. | 0:50:49 | 0:50:51 | |
You should always keep an eye on your drink at a party, as this clip from American Pie demonstrates... | 0:50:53 | 0:50:58 | |
You're really beautiful. | 0:50:58 | 0:51:00 | |
Really? | 0:51:01 | 0:51:02 | |
Oh, yeah. | 0:51:03 | 0:51:05 | |
..because the young lady's clear cup suddenly turns into a blue plastic cup. | 0:51:05 | 0:51:11 | |
And it's back again. | 0:51:11 | 0:51:12 | |
I wouldn't drink that if I was you. | 0:51:12 | 0:51:15 | |
God, I'm so nervous. I don't know why! | 0:51:17 | 0:51:19 | |
Here's a film I will never be able to unwatch, Bride Wars. | 0:51:19 | 0:51:23 | |
Keep an eye on the champagne glass. | 0:51:23 | 0:51:26 | |
Y'know, honestly... | 0:51:26 | 0:51:27 | |
It's transformed into a make-up compact. | 0:51:27 | 0:51:30 | |
..the pressure we put on brides... | 0:51:30 | 0:51:32 | |
And now it's champagne again. | 0:51:32 | 0:51:35 | |
Do you know, I could do with a drink after watching that gaffe. | 0:51:35 | 0:51:38 | |
Or some make-up. | 0:51:38 | 0:51:40 | |
-I mean, you've handled some pretty rough customers, huh? -Yeah, I have. | 0:51:42 | 0:51:46 | |
Watch the table in front of taxi driver Travis Bickle. | 0:51:46 | 0:51:50 | |
Just a cup of coffee, right? | 0:51:50 | 0:51:52 | |
Wrong. There's an entirely magically appearing burger there as well. | 0:51:52 | 0:51:56 | |
Hey, Travis, I'm talking to you. | 0:51:56 | 0:51:58 | |
I said I'm talking to... Oh, let's move on. | 0:51:58 | 0:52:01 | |
Josh Brolin here as US president George W Bush. | 0:52:03 | 0:52:07 | |
You know I got tasters in the kitchen? | 0:52:07 | 0:52:09 | |
He's so busy he can't even eat his lunch without running the country at the same time. | 0:52:09 | 0:52:14 | |
Quick bite or two to keep his stamina up... | 0:52:14 | 0:52:18 | |
We got 200 million Americans dead on our hands. | 0:52:18 | 0:52:22 | |
But this must be a self-replenishing sandwich, | 0:52:22 | 0:52:25 | |
because, moments later, both halves are intact again. | 0:52:25 | 0:52:28 | |
Because I'm more worried now than I was on 9/11. | 0:52:29 | 0:52:33 | |
It's your car! Your insurance should pay for it. | 0:52:35 | 0:52:38 | |
Movie classic Back To The Future. | 0:52:38 | 0:52:40 | |
Keep your eye on the sweet jar next to Marty McFly. It's full to the brim with candy. | 0:52:40 | 0:52:45 | |
I haven't yet, but I figured since they weren't due till... | 0:52:45 | 0:52:49 | |
Hello? Hello? | 0:52:49 | 0:52:51 | |
But, just moments later, it's half-empty. | 0:52:51 | 0:52:55 | |
Still, it's a welcome distraction from him trying to cop off with his mother. | 0:52:55 | 0:53:00 | |
Cheers. | 0:53:02 | 0:53:04 | |
The only impossible mission in this clip | 0:53:04 | 0:53:06 | |
is trying to keep track of Ving Rhames' pint glass. | 0:53:06 | 0:53:09 | |
It bounces from his hand | 0:53:09 | 0:53:11 | |
to the table... | 0:53:11 | 0:53:13 | |
Why don't you come back with me? | 0:53:13 | 0:53:15 | |
I just... | 0:53:17 | 0:53:19 | |
I just don't know why I'd be doing it. | 0:53:19 | 0:53:22 | |
..and back to his hand again. | 0:53:22 | 0:53:24 | |
Americans really can't handle their beer. | 0:53:24 | 0:53:26 | |
-OUT OF SYNC: -You know what I hate? Those moments in films | 0:53:28 | 0:53:31 | |
when the actor's mouth isn't synched up with what they're saying. | 0:53:31 | 0:53:35 | |
Sometimes their mouth isn't moving, sometimes it's moving but nothing's coming out. | 0:53:35 | 0:53:39 | |
Still, it's better than watching Twilight, | 0:53:39 | 0:53:42 | |
where you can see Robert Pattinson's mouth moving but what you hear is absolute drivel. | 0:53:42 | 0:53:46 | |
Well, we found their hide-out. | 0:53:46 | 0:53:47 | |
Let's start with The Goonies | 0:53:47 | 0:53:49 | |
and the man driving the car trying to do an Amy Winehouse, | 0:53:49 | 0:53:52 | |
singing and smoking at the same time. Look in the car mirror. | 0:53:52 | 0:53:55 | |
HE SINGS IN ITALIAN | 0:53:55 | 0:53:58 | |
SINGING CONTINUES | 0:53:58 | 0:54:00 | |
We can hear his voice, but his mouth isn't moving. | 0:54:00 | 0:54:03 | |
Watch and learn, Winehouse. | 0:54:03 | 0:54:05 | |
In the movie Collateral, Tom Cruise and Jamie Foxx | 0:54:07 | 0:54:10 | |
go to a jazz club that's so groovy, it ignores the rules of physics. | 0:54:10 | 0:54:14 | |
It's off melody. Behind the notes. Not what's expected. | 0:54:14 | 0:54:17 | |
Listen as the trumpet note continues even though the trumpeter's stopped blowing. | 0:54:17 | 0:54:22 | |
Nice! | 0:54:25 | 0:54:26 | |
-Have I told you about Sammy Jankis? -Mm. Yeah. | 0:54:29 | 0:54:32 | |
Memento now, and watch the guy on the right's mouth. | 0:54:32 | 0:54:35 | |
You think he's still here? | 0:54:35 | 0:54:36 | |
Another one talking without actually moving his lips. | 0:54:36 | 0:54:40 | |
-You think he's still here? -Who? | 0:54:40 | 0:54:42 | |
Johnny G, the guy you're looking for. | 0:54:42 | 0:54:44 | |
..others exceedingly cruel... | 0:54:45 | 0:54:47 | |
Now, this woman is talking so much, you can still hear her when her mouth isn't moving. | 0:54:47 | 0:54:52 | |
Watch closely as she's put down on the sofa. | 0:54:52 | 0:54:55 | |
..coffee shop downstairs. | 0:54:55 | 0:54:56 | |
Not that I'd trade a day, an hour, a moment of it for anything! | 0:54:56 | 0:55:00 | |
I don't know what came over me! | 0:55:00 | 0:55:01 | |
The Windsor plantation. | 0:55:03 | 0:55:05 | |
And here is a classic mouth-wrong from the film The Notebook. | 0:55:05 | 0:55:10 | |
Take note - just because a scene is dimly lit does not mean you can dub over completely different words. | 0:55:10 | 0:55:16 | |
Be careful it isn't broken. | 0:55:16 | 0:55:17 | |
Look at that. | 0:55:17 | 0:55:19 | |
Oh, this place is gigantic! | 0:55:19 | 0:55:22 | |
Yeah, a gigantic piece of... | 0:55:22 | 0:55:24 | |
Awards ceremonies, what a load of ridiculous nonsense. | 0:55:26 | 0:55:30 | |
The people who win react like it's the greatest moment of their life | 0:55:30 | 0:55:33 | |
and start gushing and crying and thanking everyone they've ever met. | 0:55:33 | 0:55:36 | |
It's pathetic. I mean, it's just a little gold statue, after all, | 0:55:36 | 0:55:41 | |
that...feels kind of special to hold. | 0:55:41 | 0:55:43 | |
I suppose it makes you feel like you've achieved something in your life, and...it's all been... | 0:55:43 | 0:55:48 | |
worth it, and... | 0:55:48 | 0:55:50 | |
I promised myself I wouldn't cry, | 0:55:50 | 0:55:52 | |
but I wouldn't be here if it wasn't for my family and my agent. | 0:55:52 | 0:55:56 | |
No, I'm only kidding. It's all nonsense, isn't it? | 0:55:56 | 0:55:59 | |
And even Oscar winners muff things up on a regular basis. | 0:55:59 | 0:56:03 | |
James Cameron's Oscar-winning epic Titanic perfectly captured | 0:56:03 | 0:56:06 | |
what it was like to be aboard the famous ship in 1901, | 0:56:06 | 0:56:10 | |
right down to the camera crew reflected in every door. | 0:56:10 | 0:56:13 | |
Let's see that again. | 0:56:13 | 0:56:15 | |
Oh, dear. | 0:56:15 | 0:56:17 | |
Invictus tells the story of South Africa during the 1995 rugby World Cup. Wow, look at that. | 0:56:23 | 0:56:30 | |
It's just like being in South Africa in 1995, | 0:56:30 | 0:56:33 | |
if you don't look at the 2009 Range Rover driving past. | 0:56:33 | 0:56:37 | |
Or listen to Matt Damon's accent. | 0:56:37 | 0:56:40 | |
Precious now, and Mum, played by Mo'Nique, | 0:56:43 | 0:56:46 | |
is going to do a classic magic trick here, the disappearing cigarette. | 0:56:46 | 0:56:50 | |
Now you see it. | 0:56:50 | 0:56:52 | |
But with a clunk from her magic frying pan... | 0:56:54 | 0:56:57 | |
Clang! Now you don't. | 0:56:57 | 0:57:00 | |
Precious doesn't seem that impressed. | 0:57:00 | 0:57:02 | |
What if she makes it reappear? | 0:57:02 | 0:57:04 | |
Still nothing? Some people, eh? | 0:57:04 | 0:57:08 | |
Break! | 0:57:10 | 0:57:11 | |
I reckon Hilary Swank wore two gum shields in Million Dollar Baby. | 0:57:11 | 0:57:15 | |
There's one being taken out. | 0:57:15 | 0:57:17 | |
-..just keep punching. -I ain't doing great, I'm losing! | 0:57:17 | 0:57:20 | |
You're wearing her down! | 0:57:20 | 0:57:21 | |
And, look, there's another one immediately back in her mouth. | 0:57:21 | 0:57:24 | |
Better to be safe than sorry, Hilary. | 0:57:24 | 0:57:27 | |
Here's Scarlett Johansson alone in her hotel room. Or is she? | 0:57:31 | 0:57:37 | |
Looks like there's a reflection of someone closing a door. | 0:57:38 | 0:57:42 | |
Maybe she didn't deserve that Oscar after all. On reflection. | 0:57:45 | 0:57:49 | |
# Gonna make you, make you, make you notice... # | 0:57:51 | 0:57:54 | |
It's karaoke night in Lost In Translation, | 0:57:54 | 0:57:57 | |
and there's quite a party happening in room number 601. | 0:57:57 | 0:58:00 | |
# Gonna use my style Gonna use my sidestep. # | 0:58:00 | 0:58:05 | |
Anyway, Scarlett Johansson steps outside while Bill Murray takes the mic. | 0:58:05 | 0:58:10 | |
But when he comes out, it's room 602. | 0:58:10 | 0:58:13 | |
That's kara-not-OK. | 0:58:13 | 0:58:16 | |
# There may come a time when a hard-boiled employer | 0:58:18 | 0:58:21 | |
-# Thinks you're... -Awful nice... # | 0:58:21 | 0:58:24 | |
Moulin Rouge won the Oscar for costume, | 0:58:24 | 0:58:26 | |
which is strange, because, if you look at Nicole Kidman's hands, | 0:58:26 | 0:58:30 | |
right hand ungloved, | 0:58:30 | 0:58:32 | |
then it's gloved again. | 0:58:32 | 0:58:34 | |
Her wardrobe is overacting even more than she is. | 0:58:34 | 0:58:37 | |
Where is he? | 0:58:37 | 0:58:39 | |
Bullitt won the Best Film Editing award. | 0:58:40 | 0:58:42 | |
What the film makers didn't edit was an unwitting member of the public | 0:58:42 | 0:58:46 | |
walking into shot and being clobbered by a policeman. | 0:58:46 | 0:58:49 | |
"Where are you going, son?" | 0:58:53 | 0:58:54 | |
The Terminator series asks life's big questions, like who'd win in a battle between man and machine | 0:58:59 | 0:59:05 | |
and why DID that third film get made? | 0:59:05 | 0:59:07 | |
At the heart of the Terminator movies is an impossible time-travel paradox. | 0:59:07 | 0:59:11 | |
It makes me so angry I want to build a robot, travel back in time and kill everyone responsible. | 0:59:11 | 0:59:17 | |
Oh, if only that was possible. Which it isn't. Which is why I'm angry. | 0:59:17 | 0:59:21 | |
On the plus side, if machines did take over humanity, | 0:59:21 | 0:59:24 | |
they'd probably avoid making movies that contained these clunking clunkers. | 0:59:24 | 0:59:29 | |
John Connor was here. Where did he go? | 0:59:29 | 0:59:32 | |
Here's T3, with my favourite kind of Terminator, | 0:59:32 | 0:59:36 | |
the "making cars inexplicably explode" cyborg. | 0:59:36 | 0:59:38 | |
Watch the truck. They're heading towards the sports car. | 0:59:42 | 0:59:45 | |
Then they completely miss it. | 0:59:46 | 0:59:49 | |
But the car shoots to the side by itself | 0:59:49 | 0:59:52 | |
and there's a massive explosion. Absolute drivel. | 0:59:52 | 0:59:55 | |
Sector's down. | 0:59:57 | 0:59:59 | |
Keep your eye on this white-haired elderly lady in the chopper, | 0:59:59 | 1:00:03 | |
because we're either about to see a massive gaffe or they've kicked her out for a quicker take-off. | 1:00:03 | 1:00:09 | |
Call the surgical team. | 1:00:09 | 1:00:11 | |
Remarks - it's Connor. | 1:00:11 | 1:00:14 | |
She's gone. | 1:00:14 | 1:00:15 | |
Whatever happened to the phrase "leave no man or old white-haired lady behind", eh, guys? | 1:00:15 | 1:00:20 | |
Give me a strap. | 1:00:22 | 1:00:24 | |
You can never be too careful when dealing with deadly robot bits. | 1:00:24 | 1:00:28 | |
Here the resistance fighters are securely strapping down this Terminator arm. | 1:00:28 | 1:00:33 | |
There are the straps. | 1:00:33 | 1:00:35 | |
But in this shot the straps have gone. | 1:00:37 | 1:00:40 | |
Well, that was a terminal waste of time, wasn't it? | 1:00:40 | 1:00:43 | |
Oh, they're back. Strapping stuff! | 1:00:43 | 1:00:45 | |
Bring up a portable shortwave. | 1:00:45 | 1:00:46 | |
-I need to test it on something larger in the field. -All right. | 1:00:46 | 1:00:49 | |
You will not get a second chance. | 1:00:51 | 1:00:53 | |
It's reassuring that in this age of CGI there's still room | 1:00:53 | 1:00:56 | |
for some good old-fashioned creaky special effects. | 1:00:56 | 1:00:59 | |
I'm proud to present, a table hanging on a string. | 1:00:59 | 1:01:03 | |
Doinnnng! | 1:01:03 | 1:01:05 | |
Let's see that again. | 1:01:08 | 1:01:10 | |
Boinnng! | 1:01:12 | 1:01:13 | |
A table on a string. | 1:01:13 | 1:01:15 | |
Here are three heroes from Terminator: Salvation making a right old mess of the place. | 1:01:19 | 1:01:24 | |
But what's even more of a mess is the continuity here. | 1:01:28 | 1:01:31 | |
Watch them jump through the hole in the wall. | 1:01:31 | 1:01:33 | |
Man on right, little girl on left. | 1:01:33 | 1:01:35 | |
And Bale, as John Connor, goes through the middle. | 1:01:35 | 1:01:38 | |
On the other side, Connor's suddenly on the right, not in the middle, | 1:01:38 | 1:01:42 | |
and the other two have changed places, too. | 1:01:42 | 1:01:44 | |
If you ask me, they deserve to be terminator-ed for this gaffe. | 1:01:44 | 1:01:48 | |
Christian Bale is in trouble here, | 1:01:54 | 1:01:56 | |
with a Terminator standing almost on top of him. | 1:01:56 | 1:01:59 | |
Oh, no, he's shot the molten metal. | 1:02:00 | 1:02:02 | |
It will surely go all over both of them. | 1:02:02 | 1:02:05 | |
Well, no, because now Bale is miles away from the Terminator. | 1:02:05 | 1:02:08 | |
I'll be back. Back here where it's nice and safe. | 1:02:10 | 1:02:13 | |
Every film pays people to meticulously | 1:02:15 | 1:02:17 | |
work through the finer details and ensure that not even minute errors end up on the big screen. | 1:02:17 | 1:02:22 | |
However, our team of super-nerds have proven to be even more meticulous than them, | 1:02:22 | 1:02:27 | |
by spotting these even harder to reach clunkers. | 1:02:27 | 1:02:29 | |
So...1-0 to the nerds, then, hmm? | 1:02:29 | 1:02:33 | |
There's nothing worse than having your airline seat downgraded, | 1:02:34 | 1:02:38 | |
so imagine how the passengers in Final Destination must feel. | 1:02:38 | 1:02:42 | |
They started in a spacious 747, with its trademark double-decker nose | 1:02:42 | 1:02:47 | |
and two engines on each side, | 1:02:47 | 1:02:50 | |
but, on take-off, it's clearly a much smaller two-engined plane. | 1:02:50 | 1:02:56 | |
There they go. Here we stay. | 1:02:56 | 1:02:58 | |
'70s-set thriller Zodiac, | 1:03:00 | 1:03:03 | |
which features a shot of the then state-of-the-art computer game Pong. | 1:03:03 | 1:03:07 | |
-The score's 15-9. -My own kids would kill me for one of those. | 1:03:07 | 1:03:10 | |
Unfortunately, the game performs a back and forth of its own, | 1:03:10 | 1:03:15 | |
because now it's 14-9, and back to 15-9. | 1:03:15 | 1:03:18 | |
Careful, Robert Downey Jr, we almost caught a glimpse of YOUR ping-pongs. | 1:03:18 | 1:03:21 | |
-You don't like it, you can move back with your mum. -I can't, actually... | 1:03:25 | 1:03:28 | |
Here's a classic nerdy Hollywood nerd playing nerdy Second Life in Hot Tub Time Machine. | 1:03:28 | 1:03:34 | |
But surely a nerd of this calibre would have spotted that | 1:03:34 | 1:03:37 | |
he's not actually playing the game, he's watching a video. | 1:03:37 | 1:03:41 | |
Because those are the controls for Quicktime Media Player. | 1:03:41 | 1:03:46 | |
Or am I a nerd for spotting that? | 1:03:46 | 1:03:48 | |
Why do you waste your time with that Second Life bull... | 1:03:48 | 1:03:51 | |
Here's lovable moron Forrest Gump | 1:03:54 | 1:03:56 | |
receiving a letter confirming his shares in Apple Incorporated. | 1:03:56 | 1:04:00 | |
He got me invested in some kind of fruit company. | 1:04:00 | 1:04:04 | |
Well, here's a catchphrase for you, Forrest. | 1:04:04 | 1:04:07 | |
Stupid is having a letter from Apple Incorporated dated 1974, | 1:04:07 | 1:04:11 | |
which wasn't actually incorporated for another three years. | 1:04:11 | 1:04:14 | |
I said, "That's good. One less thing." | 1:04:14 | 1:04:18 | |
Kiss Kiss Bang Bang now, a film so bad they named it twice. | 1:04:21 | 1:04:26 | |
But they clearly didn't watch it twice, because if they did | 1:04:26 | 1:04:29 | |
they might have spotted this bona fide clanger. | 1:04:29 | 1:04:32 | |
On the outside, this book is titled You Wouldn't Want To Live There. | 1:04:32 | 1:04:36 | |
But on the inside it's The Man Beneath The Uniform. | 1:04:36 | 1:04:41 | |
Should have called it The Fake Book Beneath The Photocopied Jacket. | 1:04:41 | 1:04:45 | |
SHE thinks it's funny. | 1:04:45 | 1:04:46 | |
Here we see the Girl with the Dragon Tattoo | 1:04:48 | 1:04:50 | |
sending an e-mail to fellow hacker, Plague. | 1:04:50 | 1:04:54 | |
Being a top-secret e-mail, she's going to want to encrypt it. | 1:04:54 | 1:04:58 | |
Wait, decrypting? | 1:04:58 | 1:05:00 | |
Oh, but that's the exact opposite of what she should have done. | 1:05:00 | 1:05:04 | |
Next thing, we'll find out her tattoo isn't really a dragon at all, it's a... | 1:05:04 | 1:05:08 | |
What's the opposite of a dragon? | 1:05:08 | 1:05:10 | |
Zombieland now, set in America. | 1:05:13 | 1:05:16 | |
Look, that's the stars and stripes. | 1:05:16 | 1:05:18 | |
And, listen, they're playing The Star Spangled Banner. | 1:05:18 | 1:05:21 | |
And, uh... Oh, dear. | 1:05:21 | 1:05:24 | |
That's a British roundabout | 1:05:24 | 1:05:26 | |
right outside the Washington, DC, Capitol building. | 1:05:26 | 1:05:30 | |
If I thought I was in the States but it turned out to be Swindon, I'd be furious. | 1:05:30 | 1:05:35 | |
Like this guy. | 1:05:35 | 1:05:37 | |
Nice place, huh? | 1:05:39 | 1:05:40 | |
The Blues Brothers are about to be fired at by a four-barrelled rocket launcher. | 1:05:40 | 1:05:45 | |
So that'll be four explosions, right? | 1:05:45 | 1:05:48 | |
There's one, two, | 1:05:48 | 1:05:50 | |
three, | 1:05:50 | 1:05:51 | |
four, | 1:05:51 | 1:05:53 | |
five? That's not right. Quick, drive off before anyone notices. | 1:05:53 | 1:05:58 | |
Kick Ass? They should have called it Kick Out The Director Because Of All The Mistakes That Are... | 1:06:00 | 1:06:05 | |
Actually, their title's better. | 1:06:05 | 1:06:07 | |
Kick-Ass, or, as it's called in Britain, Kick-Bottoms, | 1:06:07 | 1:06:10 | |
is about a superhero that's good at getting beaten up. | 1:06:10 | 1:06:13 | |
If that's a superpower, I think I've got it, too. | 1:06:13 | 1:06:16 | |
I also have a special geek sense for detecting super-size continuity errors. Watch this. | 1:06:16 | 1:06:22 | |
HE FARTS | 1:06:22 | 1:06:25 | |
Does it not bug you? Thousands of people want to be Paris Hilton | 1:06:25 | 1:06:28 | |
and nobody wants to be Spider-Man. | 1:06:28 | 1:06:29 | |
Let's kick off with Kick-Ass's sidekick. Watch the guy on the left. | 1:06:29 | 1:06:34 | |
He's holding a comic and... | 1:06:34 | 1:06:36 | |
now it's on a table. | 1:06:36 | 1:06:38 | |
That's a superpower in its own right. | 1:06:38 | 1:06:40 | |
It was time for Mindy to get ready, too. | 1:06:42 | 1:06:44 | |
Here's another comic-based super-gaffe. | 1:06:44 | 1:06:46 | |
Notice the page on the left side with its three vertical panels. | 1:06:46 | 1:06:50 | |
HAMMER IS COCKED | 1:06:50 | 1:06:52 | |
How'd you find me, Marcus? | 1:06:52 | 1:06:54 | |
One of us is still a cop, remember? | 1:06:54 | 1:06:57 | |
Moments later we see it again | 1:07:03 | 1:07:05 | |
and it's completely different, with four pictures in a grid. | 1:07:05 | 1:07:09 | |
So you brainwashed Mindy? | 1:07:09 | 1:07:10 | |
You say brainwashed. I say made it into a game. | 1:07:10 | 1:07:13 | |
I say it's a terrible movie gaffe. | 1:07:13 | 1:07:15 | |
Feel like checking out that new Kate Hudson movie where... | 1:07:18 | 1:07:20 | |
In this scene, Kick-Ass is in his civilian clothes | 1:07:20 | 1:07:24 | |
and hanging out with Katie, whom he has the hots for. | 1:07:24 | 1:07:27 | |
They're inside because it's absolutely pouring down outside. | 1:07:27 | 1:07:31 | |
But when they go out back to check out each other's fillings, | 1:07:34 | 1:07:38 | |
there's not a drop of rain in the sky. Not that they'd notice. | 1:07:38 | 1:07:41 | |
Can I get a puppy? | 1:07:43 | 1:07:44 | |
Here are Big Daddy and Potty-Mouth Girl on their day off. | 1:07:44 | 1:07:47 | |
Yeah. A cuddly, fluffy one. | 1:07:47 | 1:07:49 | |
But keep an eye on her spoon. | 1:07:49 | 1:07:52 | |
She puts it in the glass... | 1:07:52 | 1:07:54 | |
and it's back in her hand. Now, that's BLEEP impressive. | 1:07:54 | 1:07:58 | |
Look, I'd love a Benchmade model-42 butterfly knife. | 1:07:58 | 1:08:01 | |
Here's the film's villain, Frank D'Amico. | 1:08:05 | 1:08:08 | |
He's holding a popular make of phone. | 1:08:08 | 1:08:10 | |
Apparently I'm not allowed to say the brand name, so I can't say iPhone. | 1:08:10 | 1:08:14 | |
But in this shot it's silver on the back. | 1:08:14 | 1:08:18 | |
-What is this? What am I looking at here? -It was Sal's phone. | 1:08:18 | 1:08:22 | |
They found it in his hand. | 1:08:22 | 1:08:24 | |
He must have taken that right before he died. | 1:08:24 | 1:08:26 | |
And now it's black on the back. | 1:08:26 | 1:08:28 | |
I'm a bit confused now. Can I phone a friend? | 1:08:31 | 1:08:34 | |
Who? Kick-Ass? | 1:08:34 | 1:08:37 | |
One of the worst movie clunkers is a boom in shot. | 1:08:39 | 1:08:42 | |
No, not when something in shot goes boom, but when a sound man's | 1:08:42 | 1:08:45 | |
over-head microphone drops down and ruins the entire scene. | 1:08:45 | 1:08:48 | |
Can you watch what you're doing?! | 1:08:48 | 1:08:50 | |
God, sound men are such idiots. | 1:08:50 | 1:08:52 | |
Oh! I asked for that. | 1:08:52 | 1:08:55 | |
Any film about Pearl Harbor is going to have a bit of boom in shot. | 1:08:58 | 1:09:02 | |
Get it? Boom? Like an explosion? No? | 1:09:02 | 1:09:05 | |
You're right. It was a tragedy. | 1:09:05 | 1:09:07 | |
And the actual war was pretty bad, too. | 1:09:08 | 1:09:11 | |
Here's Michael Douglas starring in Fatal Attraction. | 1:09:14 | 1:09:18 | |
-See you tomorrow night. -Love you. | 1:09:18 | 1:09:20 | |
Keep your eye on the windscreen. | 1:09:20 | 1:09:22 | |
Boom! | 1:09:22 | 1:09:24 | |
Never mind fatal attraction, there's a fatal distraction. | 1:09:24 | 1:09:27 | |
Creative differences? | 1:09:31 | 1:09:33 | |
Next up is Al Pacino in S1m0ne. | 1:09:33 | 1:09:36 | |
And here's a blink and you'll miss it moment. Boom! | 1:09:38 | 1:09:42 | |
Let's see it again. | 1:09:42 | 1:09:44 | |
Luckily they got away with this gaffe | 1:09:45 | 1:09:48 | |
because no-one actually went to see that film. | 1:09:48 | 1:09:51 | |
Here's Jack Black in Shallow Hal, | 1:09:53 | 1:09:55 | |
displaying his admirable acting range | 1:09:55 | 1:09:57 | |
by playing a tubby yet loveable goofball. | 1:09:57 | 1:09:59 | |
But that's not the only thing on display here. | 1:10:00 | 1:10:03 | |
Boom! | 1:10:03 | 1:10:05 | |
No, no. It's my fault. I didn't see... This is your cab. | 1:10:05 | 1:10:09 | |
I'm going to get the next cab. | 1:10:09 | 1:10:10 | |
Boom again! | 1:10:10 | 1:10:12 | |
Taxi for the sound man. | 1:10:12 | 1:10:14 | |
While watching Enchanted, | 1:10:16 | 1:10:18 | |
I like to play a game called Boom Shake The Room. | 1:10:18 | 1:10:21 | |
Every time I see a boom in shot - there's one - I trash my room. | 1:10:21 | 1:10:25 | |
She's a seriously confused woman who's fallen into our laps. | 1:10:25 | 1:10:29 | |
Good night, OK? | 1:10:29 | 1:10:30 | |
There it is again. Right, I'm off to throw a sofa out of the window. | 1:10:30 | 1:10:35 | |
Tense action thriller Ronin now. | 1:10:37 | 1:10:40 | |
-Watch as De Niro runs through this dressing room. -Ten seconds. | 1:10:40 | 1:10:44 | |
Did you spot the gaffe? Let's take a closer look at those mirrors. | 1:10:45 | 1:10:49 | |
Ten seconds. | 1:10:49 | 1:10:51 | |
That's the camera man, and boom! | 1:10:51 | 1:10:54 | |
That's the sound man. | 1:10:54 | 1:10:56 | |
Actors, eh? Can't go anywhere without their entourage. | 1:10:56 | 1:10:58 | |
Sometimes a film can't afford to hire a large number of extras | 1:11:00 | 1:11:04 | |
and has to use the same people over and over in a variety of different roles. | 1:11:04 | 1:11:08 | |
I thought I'd found a classic example of this until the producers informed me | 1:11:08 | 1:11:12 | |
that Eddie Murphy ASKED to play every role in Nutty Professor 2: The Klumps. Who can blame him? | 1:11:12 | 1:11:18 | |
If I read a script that hilarious, I'd want to play every role. | 1:11:18 | 1:11:21 | |
Oh, the Klumps, you hilarious, obese balls of flatulence. | 1:11:21 | 1:11:25 | |
Anyway, here are a few clips of repeated extras that will have you laughing, | 1:11:25 | 1:11:29 | |
like I did when I first saw Nutty Professor 2: The Klumps. | 1:11:29 | 1:11:34 | |
'Scuse us for just a second. | 1:11:35 | 1:11:37 | |
Let's start with little Leo DiCaprio, acting all grown up with a moustache in Aviator. | 1:11:37 | 1:11:42 | |
I thought I might pilot the first one myself. Oughta be some fun. | 1:11:42 | 1:11:46 | |
See these two smart gents in the background? | 1:11:46 | 1:11:49 | |
-I'll buy you anything you want. -You can buy me dinner. | 1:11:49 | 1:11:52 | |
Here they go again in the same direction. | 1:11:52 | 1:11:55 | |
Dinner, then. We got a date? | 1:11:55 | 1:11:58 | |
And once more. | 1:11:58 | 1:12:00 | |
I'll be back in a second. | 1:12:01 | 1:12:03 | |
It's romantic comedy The Ugly Truth, | 1:12:05 | 1:12:07 | |
showing off the sensitive side of 300 macho man Gerard Butler. | 1:12:07 | 1:12:11 | |
But never mind him, keep an eye on the blonde extra in the blue. | 1:12:11 | 1:12:16 | |
She's in the shot once...twice... | 1:12:16 | 1:12:19 | |
Can't get enough of your sparkling wit and charm. | 1:12:19 | 1:12:22 | |
Stewart thought you needed a producer more than... | 1:12:22 | 1:12:25 | |
-..three times a lady, right back where she started. -Wow. | 1:12:25 | 1:12:28 | |
Before South Park creator Trey Parker, seen here, | 1:12:30 | 1:12:33 | |
and his buddy, Matt Stone, were hilariously funny, | 1:12:33 | 1:12:36 | |
they were painfully unfunny in slacker comedy BASEketball. | 1:12:36 | 1:12:40 | |
We're not beat yet. We can still win this thing. | 1:12:40 | 1:12:43 | |
But keep an eye on these two extras in Trey's team. | 1:12:43 | 1:12:45 | |
-Can we do it? -Yeah! -Can we do it? | 1:12:45 | 1:12:47 | |
Yeah! Yeah! | 1:12:47 | 1:12:49 | |
Because here they are again, in different jerseys, also playing for the opposing team. | 1:12:51 | 1:12:56 | |
This is a clip from Final Destination, | 1:12:59 | 1:13:02 | |
in which college kids try to out-run the Grim Reaper. | 1:13:02 | 1:13:05 | |
And who doesn't love a good funeral? | 1:13:05 | 1:13:07 | |
This woman at the back certainly does. | 1:13:07 | 1:13:10 | |
She gets up to pay her respects once... | 1:13:10 | 1:13:13 | |
..some meaningful glances... | 1:13:15 | 1:13:18 | |
..more mourners... | 1:13:21 | 1:13:23 | |
..and there's that woman going up all over again. | 1:13:23 | 1:13:26 | |
Ma'am, step away from the coffin. | 1:13:26 | 1:13:28 | |
We will go up there, pretend we're boyfriend and girlfriend... | 1:13:30 | 1:13:33 | |
Here's The Proposal, | 1:13:33 | 1:13:35 | |
in which Sandra Bullock persuades Ryan Reynolds to marry her. | 1:13:35 | 1:13:38 | |
And that she isn't more than a decade older than him. | 1:13:38 | 1:13:41 | |
Keep an eye on the unusually short woman in a green top to the left. | 1:13:41 | 1:13:45 | |
If you send someone walking through shot over and over, | 1:13:45 | 1:13:48 | |
probably best not to pick the most noticeable woman on the set. | 1:13:48 | 1:13:52 | |
Sorry, were you not in that room? | 1:13:52 | 1:13:54 | |
-Then I quit, and you're screwed. Buh-bye, Margaret. -Andrew! | 1:13:54 | 1:13:58 | |
Andrew! Fine! Fine. | 1:13:58 | 1:14:00 | |
Have you spotted her? Have you? | 1:14:00 | 1:14:02 | |
There she is! | 1:14:02 | 1:14:04 | |
If you do the Alaska weekend and the immigration interview, I will make you editor. | 1:14:04 | 1:14:10 | |
A bit more zingy dialogue and a bit more really obvious repeated extra. | 1:14:10 | 1:14:14 | |
She's really starting to grow on me. | 1:14:14 | 1:14:16 | |
Here's a mean-looking Denzel Washington | 1:14:18 | 1:14:21 | |
getting released from prison in the role of drug baron Frank Lucas. | 1:14:21 | 1:14:24 | |
Watch the guy in white walking though shot. | 1:14:26 | 1:14:29 | |
Well, here you can see him do exactly the same walk all over again. | 1:14:36 | 1:14:40 | |
It's like deja vu, | 1:14:40 | 1:14:41 | |
which is also the name of the Denzel Washington film before this one. | 1:14:41 | 1:14:45 | |
See what I did there? Mmm, brilliant. | 1:14:45 | 1:14:47 | |
Comedy The Hangover was a huge box-office smash. No wonder, if they hired girls in bikinis... | 1:14:50 | 1:14:56 | |
That is my tooth! | 1:14:56 | 1:14:57 | |
..got them to walk past once up close, once in the distance, and once up close again. | 1:14:57 | 1:15:03 | |
# Spider-Man, Spider-Man | 1:15:07 | 1:15:09 | |
# Repeats his extras whenever he can. # | 1:15:09 | 1:15:11 | |
-Great honour to meet you, sir. -Harry tells me you're quite the science... | 1:15:11 | 1:15:15 | |
Watch out for the college student with red hair. | 1:15:15 | 1:15:18 | |
You know, I'm something of a scientist myself. | 1:15:18 | 1:15:21 | |
I read all your research on nano-technology. | 1:15:21 | 1:15:23 | |
There she is again... | 1:15:23 | 1:15:25 | |
-Yes, I wrote a paper on it. -Impressive. | 1:15:25 | 1:15:28 | |
..again... | 1:15:28 | 1:15:29 | |
..and again. | 1:15:30 | 1:15:32 | |
Hey, you two! Let's move! | 1:15:32 | 1:15:34 | |
Nice to meet you. | 1:15:34 | 1:15:36 | |
-Hope to see you again. -Yeah. | 1:15:36 | 1:15:38 | |
Never mind seeing him again. Let's see her. | 1:15:38 | 1:15:41 | |
He doesn't seem so bad. | 1:15:41 | 1:15:42 | |
Bingo! My movie-mistake senses are tingling. | 1:15:42 | 1:15:47 | |
-Jenny! -Here's Forrest Gump, | 1:15:49 | 1:15:51 | |
who prefers to repeat entire crowds of extras. | 1:15:51 | 1:15:55 | |
Keep an eye on just these two guys in hats, for example. | 1:15:57 | 1:16:01 | |
Forrest knocks them out of the way once | 1:16:01 | 1:16:04 | |
and then all over again. | 1:16:04 | 1:16:06 | |
Like Forrest says, "Life is like a box of idiots." | 1:16:06 | 1:16:09 | |
And, finally, Monsters, Inc, | 1:16:12 | 1:16:14 | |
here to show that even when your extras don't actually exist, | 1:16:16 | 1:16:19 | |
they can still crop up in two places at once. | 1:16:19 | 1:16:22 | |
Stay where you are. Number One wants to talk to you. | 1:16:22 | 1:16:25 | |
Each monster in a yellow suit has its own unique number. | 1:16:25 | 1:16:29 | |
Here's worker 112, standing next to Mike and Sully. | 1:16:29 | 1:16:33 | |
Then, moments later, here he, or it, is again. | 1:16:35 | 1:16:41 | |
Two and a half years of undercover work were almost wasted. | 1:16:43 | 1:16:47 | |
Fans of Star Trek prefer to be called Trekkers, because the term "Trekkie" is deemed offensive. | 1:16:50 | 1:16:54 | |
A bit like "tragic, lonely geek-face". | 1:16:54 | 1:16:57 | |
Some fans have even gone to the trouble of learning the entire language of Klingon. | 1:16:57 | 1:17:01 | |
To those people I say, "Brak nik toff jah bak mak," | 1:17:01 | 1:17:04 | |
which doesn't mean anything as I've got better things to do with my life. | 1:17:04 | 1:17:09 | |
As it happens, Bones McCoy was a nickname of a kid I went to school with, | 1:17:09 | 1:17:13 | |
after he was caught in an uncompromising situation with a bag of crinkle-cut crisps. | 1:17:13 | 1:17:18 | |
Stand by for some hi-tech, high-action sky-diving | 1:17:18 | 1:17:22 | |
from the recent Star Trek reboot. | 1:17:22 | 1:17:25 | |
We can see the order of the sky-divers on the display screen. | 1:17:25 | 1:17:28 | |
Red first, then blue, then yellow. | 1:17:28 | 1:17:31 | |
5,800 metres. | 1:17:31 | 1:17:33 | |
Distance to target, 5,000 metres. | 1:17:33 | 1:17:35 | |
When we see them outside, they're in a completely different order. | 1:17:35 | 1:17:38 | |
Blue, yellow, red. | 1:17:38 | 1:17:40 | |
Obviously, the guy in red dies horribly, as required by Star Trek law. | 1:17:42 | 1:17:46 | |
Don't people ever learn? | 1:17:47 | 1:17:49 | |
Here's Nero, the villain, throttling some poor bloke. | 1:17:53 | 1:17:57 | |
But, looking at his missing right ear tip, | 1:17:57 | 1:17:59 | |
I'd guess he's already been in a fight, possibly with Mike Tyson. | 1:17:59 | 1:18:04 | |
-Spock! -But now it's his left ear that's all chewed up. | 1:18:04 | 1:18:08 | |
-And his right ear is all pointy. -Spock! | 1:18:08 | 1:18:10 | |
You leave that Spock alone, it's not his fault. | 1:18:10 | 1:18:13 | |
-Stop the ship. -Kirk, how the hell did you get on board the Enterprise? | 1:18:15 | 1:18:18 | |
Here's Uhura standing right by her man, Mr Spock. | 1:18:18 | 1:18:21 | |
Only, in this shot, she's standing quite far away. | 1:18:21 | 1:18:24 | |
Women! | 1:18:24 | 1:18:26 | |
Some old-school Trek now, | 1:18:30 | 1:18:32 | |
back when they knew how to dress for every occasion. | 1:18:32 | 1:18:35 | |
Falling to your certain death, only a black outfit will do. | 1:18:35 | 1:18:38 | |
Being saved just before certain death, maybe a blue top would be more suitable. | 1:18:43 | 1:18:48 | |
I suspect his trousers are brown though. | 1:18:48 | 1:18:50 | |
Some people complained that William Shatner's acting was a bit wooden, like a puppet. | 1:18:53 | 1:18:57 | |
Well, I think that's a bit unfair. He's nothing like a puppet. | 1:18:57 | 1:19:01 | |
You know, with strings attached, holding him up in the air. | 1:19:01 | 1:19:05 | |
Or people just off-screen pushing him about, controlling his every move during fight scenes. | 1:19:05 | 1:19:11 | |
No, nothing like a puppet. | 1:19:11 | 1:19:13 | |
Ambassador... | 1:19:15 | 1:19:17 | |
Ambassador, with this next movie mistake you are really spoiling us. | 1:19:17 | 1:19:21 | |
Spare me your human platitudes, Kirk. | 1:19:21 | 1:19:23 | |
Look at the display of guns on the wall. | 1:19:23 | 1:19:25 | |
Your son meant more to me than you can know. | 1:19:25 | 1:19:28 | |
And now look. | 1:19:28 | 1:19:30 | |
Can you spot the difference? | 1:19:30 | 1:19:32 | |
Yes, of course you can! | 1:19:32 | 1:19:33 | |
Ah, there's the moustachioed Scotty, standing behind Kirk, | 1:19:36 | 1:19:40 | |
his right-hand man there to comfort him in his time of need. | 1:19:40 | 1:19:43 | |
This death takes place in the shadow of new life. | 1:19:43 | 1:19:46 | |
The sunrise of a new world. | 1:19:46 | 1:19:48 | |
A world that our beloved comrade gave his life to protect and nourish. | 1:19:48 | 1:19:52 | |
Hang on, where's Scotty? | 1:19:52 | 1:19:55 | |
Who's playing those blooming bagpipes? Oh, Scotty's back. | 1:19:58 | 1:20:01 | |
Turns out he CAN change the laws of physics. | 1:20:01 | 1:20:04 | |
Keep an eye on the injured actor in this scene from The Wrath Of Khan. | 1:20:08 | 1:20:13 | |
He's making the most of his big moment by dying not once... | 1:20:13 | 1:20:16 | |
..but twice. | 1:20:18 | 1:20:20 | |
Let's see that again. | 1:20:21 | 1:20:23 | |
He dies | 1:20:23 | 1:20:25 | |
and then decides to close his eyes. | 1:20:25 | 1:20:27 | |
Talk about overplaying your part. | 1:20:27 | 1:20:28 | |
More vintage Star Trek now. Look at that lovely jumper. | 1:20:30 | 1:20:34 | |
But it's the whales we're looking for here. | 1:20:34 | 1:20:37 | |
There they are. Big remote-controlled whales. | 1:20:37 | 1:20:40 | |
How do we know they're remote-controlled? | 1:20:40 | 1:20:43 | |
Because that's the special-effects diver releasing them. | 1:20:45 | 1:20:48 | |
I feel cheated. Next you'll be telling me there's no such thing as transparent aluminium. | 1:20:48 | 1:20:53 | |
Look at the big Klingon spaceship | 1:20:57 | 1:20:59 | |
casting a huge shadow over the fishing boat. | 1:20:59 | 1:21:02 | |
It's no good just turning the boat around, you won't get away from it that easily. Or will you? | 1:21:02 | 1:21:07 | |
Well, the shadow's gone. | 1:21:08 | 1:21:09 | |
That must mean the spaceship has too. Yay! | 1:21:09 | 1:21:13 | |
Oh, no, there it is. | 1:21:13 | 1:21:15 | |
There are a lot of things that are just wrong about Hollywood. | 1:21:17 | 1:21:20 | |
Why do the actors get paid so much? | 1:21:20 | 1:21:22 | |
Why does Jennifer Aniston make so many dodgy rom-coms? | 1:21:22 | 1:21:25 | |
And why, Mel Gibson, why? | 1:21:25 | 1:21:28 | |
But we're here to right some movie wrongs, or at least point them out and be sarcastic about them. | 1:21:28 | 1:21:33 | |
Enjoy! | 1:21:33 | 1:21:35 | |
Get Him To The Greek now, and we join the party in full swing. | 1:21:35 | 1:21:40 | |
With Russell Brand, some sexy girls, | 1:21:40 | 1:21:42 | |
Puff Diddy Daddy Combs and something on fire. | 1:21:42 | 1:21:46 | |
-Sergio's gone crazy! -I love this game! | 1:21:46 | 1:21:48 | |
And note the night-time cityscape in the windows. | 1:21:48 | 1:21:51 | |
A real night to remember. | 1:21:51 | 1:21:53 | |
I don't think so! | 1:21:53 | 1:21:55 | |
Only when they get outside it's not night at all, | 1:21:55 | 1:21:58 | |
it's the middle of the day. | 1:21:58 | 1:21:59 | |
Exactly how long is that walk from the room to the exit? | 1:22:01 | 1:22:04 | |
Look carefully at this clip from Ronin. | 1:22:08 | 1:22:11 | |
Someone's spying on some tough guys from a window through a camera. | 1:22:11 | 1:22:15 | |
But the next camera shot is clearly from someone standing | 1:22:17 | 1:22:20 | |
right in front of them on the street. Very undercover. | 1:22:20 | 1:22:23 | |
Harry Potter's full of all kinds of magical nonsense. | 1:22:26 | 1:22:29 | |
That's it, all I need's a bit of luck. | 1:22:29 | 1:22:31 | |
He's got an invisibility cloak, but in this scene he's also got invisibility glasses. | 1:22:31 | 1:22:36 | |
Look, no lenses. | 1:22:36 | 1:22:37 | |
It's a miracle. | 1:22:39 | 1:22:42 | |
In Final Destination we see a young lady striking a tiny match | 1:22:45 | 1:22:49 | |
that suddenly becomes absolutely massive. | 1:22:49 | 1:22:52 | |
You could say... the match doesn't match. | 1:22:52 | 1:22:55 | |
Look, it's all completely chicken soup. | 1:22:57 | 1:22:59 | |
-It's what? -It's kosher. | 1:22:59 | 1:23:01 | |
As Christmas. | 1:23:01 | 1:23:03 | |
Lock Stock may have Two Smoking Barrels, but in this scene there's one massive clunker. | 1:23:03 | 1:23:06 | |
-I need some artillery, too. -The fruit machine sounds like it's working. | 1:23:06 | 1:23:10 | |
This is London, not the Lebanon. | 1:23:10 | 1:23:11 | |
But no reels move at any point. | 1:23:11 | 1:23:15 | |
Oi, Guy Ritchie, back up the apples and pears and sort your movie out. | 1:23:15 | 1:23:19 | |
I don't like you. | 1:23:21 | 1:23:23 | |
Dustin Hoffman about to reveal a revolutionary new product. | 1:23:23 | 1:23:26 | |
Shaving foam that shaves for you. | 1:23:26 | 1:23:28 | |
Leave on for a bit during a dramatic scene. | 1:23:30 | 1:23:33 | |
Wipe foam off... | 1:23:33 | 1:23:34 | |
and you're clean-shaven. | 1:23:34 | 1:23:37 | |
Mrs Robinson, get that boy to the Dragon's Den. | 1:23:37 | 1:23:40 | |
PHONE RINGS Pick it up. | 1:23:42 | 1:23:43 | |
A dark, atmospheric thriller from the Coen brothers and what could be more creepy than a haunted phone? | 1:23:43 | 1:23:49 | |
It's still ringing after she picks it up. | 1:23:49 | 1:23:52 | |
Let's see that again. | 1:23:52 | 1:23:54 | |
Oh, hi, it's Robert from Movie Mistakes. | 1:23:59 | 1:24:02 | |
I'd like my money back, please. | 1:24:02 | 1:24:04 | |
Quentin Tarantino is one of the greatest directors of his generation. | 1:24:06 | 1:24:11 | |
He's also a very naughty boy. By calling his last film Inglourious Basterds, | 1:24:11 | 1:24:15 | |
he thought his misspelling would allow him to get away with using a swearword. What a dockhead. | 1:24:15 | 1:24:20 | |
The film follows the adventures of a group of Nazi-hunters. | 1:24:20 | 1:24:23 | |
Well, Nazi hunters, our mistake hunters are after you. | 1:24:23 | 1:24:26 | |
But just because our hunters are hunting Nazi-hunters, | 1:24:26 | 1:24:29 | |
it doesn't mean we're on the same side as the Nazis. OK? They're not. | 1:24:29 | 1:24:33 | |
This film is filled with the kind of mistakes | 1:24:33 | 1:24:35 | |
that make you want to track down those responsible | 1:24:35 | 1:24:38 | |
and carve the word "numpty" into their forehead. | 1:24:38 | 1:24:41 | |
Sergeant Hugo Stiglitz. | 1:24:41 | 1:24:45 | |
Heard of him? | 1:24:45 | 1:24:47 | |
Everybody in the German army's heard of Hugo Stiglitz. | 1:24:47 | 1:24:50 | |
Let's start with the scene where we find out about a Nazi turned good guy who goes by the name of.... | 1:24:50 | 1:24:55 | |
Well, you can probably read it for yourself. | 1:24:55 | 1:24:57 | |
And here's a newspaper article all about the Nazis he's meant to have killed. | 1:24:59 | 1:25:02 | |
On the top row here, there are six photos. | 1:25:02 | 1:25:06 | |
Go ahead and count them. | 1:25:06 | 1:25:07 | |
Hugo Stiglitz is a celebrity among German soldiers. | 1:25:07 | 1:25:10 | |
But in this close-up there are actually seven photos across. | 1:25:10 | 1:25:13 | |
Which is it Hugo, six or seven? | 1:25:13 | 1:25:16 | |
You will answer me! | 1:25:16 | 1:25:18 | |
Keep an eye on Colonel Landa's cigarette in this clip. | 1:25:20 | 1:25:23 | |
He's just lit it. | 1:25:23 | 1:25:26 | |
Already, there's ash hanging off. | 1:25:26 | 1:25:30 | |
Hmm. Tension mounting. | 1:25:31 | 1:25:34 | |
Doesn't even take a single drag. | 1:25:34 | 1:25:37 | |
But seconds later, he puts it out in his apfel strudel. | 1:25:41 | 1:25:45 | |
And suddenly it's burned down to a stub. | 1:25:45 | 1:25:48 | |
Leading lady Shosanna puts on heavy lipstick | 1:25:50 | 1:25:52 | |
for an evening of Nazi bothering. | 1:25:52 | 1:25:54 | |
But hang on, in this shot, she's hardly wearing any lipstick. | 1:25:56 | 1:26:00 | |
And there's no big, red mark on the wine glass. | 1:26:00 | 1:26:03 | |
No, it's all right, lipstick's back again. As you were. | 1:26:07 | 1:26:11 | |
I've been chewed out before. | 1:26:16 | 1:26:18 | |
It's the end of the film with everyone making a break for freedom. | 1:26:18 | 1:26:20 | |
Heard that deal you made with the brass. | 1:26:20 | 1:26:23 | |
But something else is trying to make a run for it and that's Brad Pitt's tie. | 1:26:23 | 1:26:29 | |
-First you can see both sides... -I'd make that deal. -I don't blame you. | 1:26:29 | 1:26:32 | |
Then one side has made a run for it. | 1:26:32 | 1:26:35 | |
And that pretty little nest you've feathered for yourself. Well, if you're willing to barbecue | 1:26:35 | 1:26:39 | |
the whole high command, I suppose that's worth certain considerations. | 1:26:39 | 1:26:42 | |
Don't worry, it'll be back. | 1:26:42 | 1:26:44 | |
But I do have one question. | 1:26:44 | 1:26:46 | |
Yeah, who's in charge of continuity here? | 1:26:46 | 1:26:48 | |
There really is no excuse for mistakes in animation films. | 1:26:50 | 1:26:53 | |
Why, oh why do animators make so many mistakes? | 1:26:53 | 1:26:56 | |
It's just drawing a picture or two, or you know, quite a few, say, roughly 30 pictures per second, | 1:26:56 | 1:27:02 | |
1,800 pictures a minute so that's about 162,000 pictures per film, I mean, how hard can it be? | 1:27:02 | 1:27:08 | |
Some of these animators should be drawn themselves, | 1:27:08 | 1:27:10 | |
hung, drawn and quartered - for crimes against movie continuity! | 1:27:10 | 1:27:14 | |
Possibly a bit harsh, but you know. | 1:27:14 | 1:27:17 | |
Let's kick things off with Monsters Inc. | 1:27:17 | 1:27:19 | |
Keep an eye on the train set on the bedroom floor. | 1:27:19 | 1:27:24 | |
-Argh! -ARGH! | 1:27:26 | 1:27:28 | |
Just moments later, it's gone. | 1:27:28 | 1:27:31 | |
And has been replaced by all these painful, spiky things. | 1:27:31 | 1:27:35 | |
These monsters should be incarcerated, not incorporated! | 1:27:35 | 1:27:39 | |
Keep coming, keep coming. | 1:27:41 | 1:27:43 | |
look at Mike's hand at the bottom of the screen. It's completely normal. | 1:27:43 | 1:27:48 | |
Apart from the fact it's green and has pointy nails. | 1:27:48 | 1:27:51 | |
Could almost be my ex-wife, am I right, fellas? | 1:27:51 | 1:27:54 | |
Actually, I don't even have an ex-wife. | 1:27:54 | 1:27:57 | |
-Is that... -Sorry it took so long. | 1:27:57 | 1:27:59 | |
Anyway, now the hands are all covered in plasters. | 1:27:59 | 1:28:03 | |
Even the credits are wrong. | 1:28:05 | 1:28:07 | |
See Sulley hide little girl Boo behind him. | 1:28:07 | 1:28:10 | |
But watch closely because during the song, she vanishes into thin air. | 1:28:10 | 1:28:14 | |
Mind you, I disappear when people start dancing too. | 1:28:14 | 1:28:19 | |
Get away from me, you guys. | 1:28:19 | 1:28:22 | |
Look at young Cal here waking up in his PJs. | 1:28:26 | 1:28:32 | |
Wow, it's been snowing ice cream. | 1:28:32 | 1:28:36 | |
And a coat just magically appeared on him. | 1:28:39 | 1:28:42 | |
Happy birthday, son. | 1:28:42 | 1:28:45 | |
-Dad? -This is your day. | 1:28:45 | 1:28:47 | |
If no-one else here is going to ask the question, I will. | 1:28:47 | 1:28:49 | |
Where did that coat come from? | 1:28:49 | 1:28:51 | |
Next the laugh-every-few-minutes hit-and-miss, Planet 51. | 1:28:54 | 1:28:59 | |
Keep your eyes on the spaceman's visor. | 1:28:59 | 1:29:02 | |
What the... | 1:29:02 | 1:29:04 | |
duck? | 1:29:04 | 1:29:06 | |
Aliens? Yeah, we're surprised, too, because they've got no reflection in your shiny helmet. | 1:29:08 | 1:29:12 | |
# I call him lollipop, lollipop oh lolly, lolly, lolly, lollipop... # | 1:29:17 | 1:29:21 | |
Planet 51 and mistake number two. | 1:29:21 | 1:29:23 | |
So the alien dog pees on a lamp-post. | 1:29:23 | 1:29:26 | |
The lamp-post falls down... | 1:29:28 | 1:29:31 | |
..the lamp-post disappears. | 1:29:33 | 1:29:35 | |
Yet another reason not to watch this film. | 1:29:35 | 1:29:39 | |
Keep an eye on the two glasses. | 1:29:42 | 1:29:45 | |
She must be real thirsty. | 1:29:45 | 1:29:47 | |
I'm real thirsty. | 1:29:47 | 1:29:49 | |
Told you. The only problem is one of the glasses has vanished. | 1:29:49 | 1:29:53 | |
I don't want to walk any more. | 1:30:02 | 1:30:04 | |
Russell is being dragged along by his face. | 1:30:04 | 1:30:07 | |
I imagine that'll make him all dirty. | 1:30:07 | 1:30:10 | |
There are no tigers in South America. | 1:30:10 | 1:30:13 | |
-Zoology. -Yep. | 1:30:13 | 1:30:16 | |
That's kids for you, eh? Dirty one second, completely clean the next. | 1:30:16 | 1:30:21 | |
Weird. | 1:30:21 | 1:30:23 | |
Let's take a look at Twilight, a series of films | 1:30:25 | 1:30:28 | |
about pretty teenagers mainly moping about in forests. | 1:30:28 | 1:30:31 | |
They have it all, vampires, werewolves, action romance, | 1:30:31 | 1:30:34 | |
all mixed up together to create a bunch of boring, old rubbish. | 1:30:34 | 1:30:38 | |
Twilight is chock-full of dodgy moral messages. | 1:30:38 | 1:30:41 | |
Edward is over 100 years old | 1:30:41 | 1:30:43 | |
and yet he's dating a 17-year-old schoolgirl, | 1:30:43 | 1:30:46 | |
so we're all fine with this? | 1:30:46 | 1:30:47 | |
Oh, and it's fine for the dead to get off with the living, | 1:30:47 | 1:30:50 | |
but when it's the other way round, apparently it's creepy. | 1:30:50 | 1:30:53 | |
Fitting in as the new kid can be hard. For a start, what do you wear? | 1:30:56 | 1:31:00 | |
My first day at a new school, it's March in the middle of the semester. | 1:31:00 | 1:31:04 | |
Well, that guy's got a red hoodie. He's pretty cool. | 1:31:04 | 1:31:07 | |
-Nice ride. -Only now, he's also wearing a bodywarmer. | 1:31:14 | 1:31:17 | |
-Thanks. -Oh, now he isn't. | 1:31:17 | 1:31:19 | |
I can't keep up with teen fashion. | 1:31:19 | 1:31:21 | |
I'm sorry I'm rude all the time, I just think it's the best way. | 1:31:23 | 1:31:27 | |
Guess who just asked me to prom! | 1:31:27 | 1:31:29 | |
Never mind the prom, where did that clipboard come from? | 1:31:29 | 1:31:32 | |
Let's see that again. | 1:31:32 | 1:31:35 | |
No clipboard, clipboard! | 1:31:35 | 1:31:38 | |
And flounce... | 1:31:38 | 1:31:40 | |
Where is he? | 1:31:42 | 1:31:45 | |
Where's... Where's Edward? | 1:31:45 | 1:31:47 | |
Here we see the loyal R-Patz sitting guard for injured Bella. | 1:31:47 | 1:31:51 | |
There he is sleeping right by the window. | 1:31:52 | 1:31:56 | |
Yep, right next to the... | 1:31:56 | 1:31:57 | |
Oh, hang on, who moved the window? | 1:31:57 | 1:32:01 | |
Come on, it's just a game. | 1:32:03 | 1:32:04 | |
You have to be careful playing baseball, | 1:32:04 | 1:32:07 | |
especially with sexy vampires. | 1:32:07 | 1:32:10 | |
Nice kitty. | 1:32:10 | 1:32:11 | |
Although it's not so dangerous that Bella needs a body double. | 1:32:11 | 1:32:15 | |
Look, that's clearly not her, look at that massive chin. | 1:32:15 | 1:32:19 | |
Ah, she's been reading Romeo and Juliet. How romantic. | 1:32:24 | 1:32:29 | |
Happy birthday. | 1:32:29 | 1:32:32 | |
But now, the book's gone. What did you do with it, Bella? | 1:32:32 | 1:32:36 | |
Bore it out of existence? | 1:32:36 | 1:32:37 | |
A werewolf so moody and sexy he has to walk around with his top off. | 1:32:39 | 1:32:44 | |
Nice tattoo right up by his shoulder. | 1:32:44 | 1:32:47 | |
Only in this shot, it seems to have slipped halfway down his arm. | 1:32:47 | 1:32:51 | |
Bad dog. | 1:32:51 | 1:32:52 | |
Finally in this scene, R-Pats flings Bella to safety, | 1:32:57 | 1:32:59 | |
knocking over two vases. | 1:32:59 | 1:33:03 | |
But the next time we see them, four vases are smashed. | 1:33:03 | 1:33:07 | |
Either way, you only win a prize if you knock all five down, I'm afraid. | 1:33:07 | 1:33:11 | |
One of the things that always amazes me about the film business | 1:33:13 | 1:33:16 | |
is that there are actually trained specialists | 1:33:16 | 1:33:18 | |
who are paid enormous sums of money to spot continuity mistakes. | 1:33:18 | 1:33:21 | |
Basically, their job is to watch movies all day and point out small errors. Call that a job? | 1:33:21 | 1:33:26 | |
It's pathetic. How exactly is that contributing to a better, healthier society for us all? | 1:33:26 | 1:33:31 | |
Anyway, here's some mistakes that we spotted while being paid to watch movies the other day. | 1:33:31 | 1:33:36 | |
A saucy scene where Stifler's mom seduces one of her son's friends. | 1:33:36 | 1:33:42 | |
-Are you lost? -Keep your eyes on his balls. | 1:33:42 | 1:33:45 | |
The pool balls, people! | 1:33:45 | 1:33:48 | |
OK, there's a yellow ball in the middle of the table. | 1:33:48 | 1:33:51 | |
No, no, not lost just... | 1:33:51 | 1:33:53 | |
you know, taking the tour. | 1:33:53 | 1:33:55 | |
He's so distracted by her mature allure, he doesn't notice the ball's moved all by itself. Steamy. | 1:33:55 | 1:34:02 | |
Want show him the room, Dale? | 1:34:04 | 1:34:06 | |
John C Reilly and Will Ferrell play, er, step-brothers. Watch the napkin. | 1:34:06 | 1:34:13 | |
Hey, listen, I like to have a lot of fresh fruit around. | 1:34:13 | 1:34:17 | |
And chocolate chips in my pancakes, OK? | 1:34:17 | 1:34:20 | |
-Write it down so you don't forget. -Show him the room. | 1:34:20 | 1:34:22 | |
Hang on, it's gone. | 1:34:22 | 1:34:25 | |
Wait! Dastan! | 1:34:27 | 1:34:28 | |
Ooh, it's The Prince Of Persia swordfighting | 1:34:29 | 1:34:33 | |
in his brand new M&S shirt. And, oh, no, that's torn it. | 1:34:33 | 1:34:36 | |
His mum will be furious. | 1:34:36 | 1:34:38 | |
Only she won't, because look, it's immediately as good as new. | 1:34:38 | 1:34:42 | |
Magic. | 1:34:42 | 1:34:44 | |
It's the 1960s when men sat up front and women sat in the back. | 1:34:46 | 1:34:51 | |
But it was also the decade of sexual liberation. | 1:34:51 | 1:34:54 | |
-Might be worth a look. -Mm-hmm. | 1:34:54 | 1:34:55 | |
Because when they stop, one of the men has become a woman, and nobody bats an eyelid. | 1:34:55 | 1:35:02 | |
A man who so loved his watch, he could look at it for ages. | 1:35:04 | 1:35:09 | |
It's 6pm. | 1:35:11 | 1:35:13 | |
Next thing you know, it's 6:25. | 1:35:13 | 1:35:15 | |
I guess time flies when you're on the run. | 1:35:15 | 1:35:18 | |
Here's Anne Hathaway sprawling on the floor. | 1:35:20 | 1:35:24 | |
Steve Carell is getting an eyeful, | 1:35:24 | 1:35:26 | |
so he'll probably notice that she's got bare feet. | 1:35:26 | 1:35:28 | |
Are you staring at my butt? | 1:35:30 | 1:35:32 | |
No, I'm not. | 1:35:32 | 1:35:34 | |
But in the same scene, after Steve Carell's stunt double has demonstrated his flexibility. | 1:35:34 | 1:35:40 | |
That's impressive, wow. | 1:35:40 | 1:35:42 | |
Hathaway's suddenly got shoes on. | 1:35:42 | 1:35:44 | |
How good am I at spotting mistakes? | 1:35:44 | 1:35:47 | |
Very good. | 1:35:47 | 1:35:48 | |
Ah, legs crossed left over right, the classic relaxation position. | 1:35:50 | 1:35:55 | |
-I will never become an Omega... -I mean, right over left. | 1:35:55 | 1:35:59 | |
That's it, right over left. | 1:35:59 | 1:36:01 | |
Left over right? | 1:36:01 | 1:36:03 | |
Right over left? | 1:36:04 | 1:36:06 | |
I cannot keep up with the Joneses. | 1:36:06 | 1:36:09 | |
This isn't about me selling my products, | 1:36:11 | 1:36:13 | |
I have to ensure my unit is selling their products. | 1:36:13 | 1:36:16 | |
Here's that guy Mulder, from The X Files, | 1:36:16 | 1:36:18 | |
with some paranormal activity. | 1:36:18 | 1:36:20 | |
Keep an eye on his arm. It's up by his head. | 1:36:20 | 1:36:24 | |
Separate bedrooms perhaps? | 1:36:24 | 1:36:26 | |
Down again. | 1:36:26 | 1:36:28 | |
You're not a great salesman. | 1:36:28 | 1:36:31 | |
Touching his ear. | 1:36:31 | 1:36:33 | |
Touching the table. Spooky. | 1:36:33 | 1:36:36 | |
And here's that guy Mulder from The X Files in...The X Files. | 1:36:39 | 1:36:45 | |
What's inexplicable in this shot is how the driver's side window is all ragged and smashed. | 1:36:45 | 1:36:51 | |
But then there's not a shard of glass to be seen. | 1:36:55 | 1:36:58 | |
The truth is out there. The truth is nobody was paying attention. | 1:36:58 | 1:37:03 | |
Yeah, that'll learn you. | 1:37:03 | 1:37:04 | |
I enjoyed Team America all right, | 1:37:06 | 1:37:08 | |
I just found the acting a bit, I don't know, wooden? | 1:37:08 | 1:37:12 | |
Here's a puppet looking at a picture of four other puppets, | 1:37:12 | 1:37:16 | |
like Cheryl Cole thinking back on her Girls Aloud days. | 1:37:16 | 1:37:19 | |
Hello, young man. Congratulations on a terrific performance. | 1:37:19 | 1:37:21 | |
But in the wide shot, that photo of four has turned into a photo of two. | 1:37:21 | 1:37:28 | |
What a Muppet! I mean, puppet. | 1:37:28 | 1:37:31 | |
The name is Spottswoode. | 1:37:31 | 1:37:34 | |
Action, punching, kicking, running away from the police, | 1:37:36 | 1:37:39 | |
I love a night out in Liverpool, | 1:37:39 | 1:37:41 | |
but now let's look at some action sequences. | 1:37:41 | 1:37:43 | |
Action sequences are brilliant, you know, when actions happen in a sequence. | 1:37:43 | 1:37:48 | |
In fact, come to think of it, everything is an action sequence really, isn't it? | 1:37:48 | 1:37:51 | |
If a film didn't have any action, it would just be a bloke standing there | 1:37:51 | 1:37:54 | |
talking straight to the camera and that would be rubbish. | 1:37:54 | 1:37:57 | |
Let's watch some action howlers! | 1:37:57 | 1:38:00 | |
Yah! | 1:38:00 | 1:38:01 | |
Ah, the days of King Arthur when men were real man. | 1:38:01 | 1:38:05 | |
Tough and strong, charging on horseback, wielding swords in battle and... | 1:38:05 | 1:38:10 | |
dying when the sword hasn't even touched them. | 1:38:10 | 1:38:13 | |
Get up, you big wuss. | 1:38:17 | 1:38:19 | |
Some serious medieval-style action's about to kick off. | 1:38:23 | 1:38:27 | |
But don't worry, they're not real soldiers, they're actors. | 1:38:30 | 1:38:33 | |
They just do as they're told, keep walking and stop when you get | 1:38:33 | 1:38:37 | |
to the rubbish sticks and bit of rope marking the edge of shot. | 1:38:37 | 1:38:41 | |
The scouts have the motto "be prepared". | 1:38:47 | 1:38:51 | |
These guys in Daybreakers must be former scouts, I reckon. | 1:38:51 | 1:38:54 | |
They're so prepared, their car is riddled with bullet holes | 1:38:54 | 1:38:57 | |
before any shots have been fired. | 1:38:57 | 1:38:59 | |
-Put the gun down. -Let's go. | 1:39:01 | 1:39:05 | |
And here come the bullets. | 1:39:05 | 1:39:07 | |
I imagine they're prepared for me to tell them that they're idiots. | 1:39:09 | 1:39:12 | |
Here's some more bullet hole nonsense. | 1:39:14 | 1:39:19 | |
Never mind the goats, what the men, whoever they are, should be staring at is this windscreen. | 1:39:20 | 1:39:25 | |
Which is shot one minute | 1:39:25 | 1:39:27 | |
and then magically unshot. Stare at that, goat men. | 1:39:29 | 1:39:33 | |
America will go nuts for BASEKetball. | 1:39:35 | 1:39:37 | |
Watch the background of this crazy party in BASEKetball. | 1:39:37 | 1:39:41 | |
The guy on the roof wearing the leather jacket and white trousers | 1:39:41 | 1:39:44 | |
is so drunk he falls off twice. | 1:39:44 | 1:39:46 | |
Listen to that crowd. | 1:39:46 | 1:39:49 | |
See? | 1:39:49 | 1:39:51 | |
He must've been drinking doubles. | 1:39:51 | 1:39:53 | |
They say you should never work with children or animals. | 1:39:55 | 1:39:58 | |
But after you've seen these clips, you can add vehicles to that list. | 1:39:58 | 1:40:02 | |
Here's a collection of classic gaffes featuring planes, trains and automobiles. | 1:40:02 | 1:40:07 | |
Ooh, that's a catchy title. Well done me. | 1:40:07 | 1:40:10 | |
Anyway, I haven't seen transport blunders like this since I got a lift home with George Michael. | 1:40:10 | 1:40:14 | |
Here's a famous scene from Borat. | 1:40:14 | 1:40:17 | |
Eventually, I managed to hike a hitchings | 1:40:17 | 1:40:20 | |
with group of young scholars also travelling across country. All right! | 1:40:20 | 1:40:24 | |
Yes, it's all so completely spontaneous and not pre-planned. | 1:40:26 | 1:40:29 | |
So spontaneous, the RV he gets out of later that night | 1:40:29 | 1:40:33 | |
is a different one from the day before. Isn't that nice? | 1:40:33 | 1:40:37 | |
-Hit the brakes! Hit the brakes, come on! -I can't! | 1:40:39 | 1:40:42 | |
The fellows are in a spot of bother here. | 1:40:42 | 1:40:46 | |
Look, the wheel's fallen off. This can't end well. | 1:40:46 | 1:40:49 | |
Hold on, the wheel's back. | 1:40:53 | 1:40:55 | |
Nothing can go wrong now. | 1:40:55 | 1:40:56 | |
What the...? | 1:41:01 | 1:41:02 | |
Get Smart not taking its own advice with this stupid movie blunder. | 1:41:02 | 1:41:07 | |
Keep an eye on the car wing mirror. | 1:41:07 | 1:41:09 | |
It gets smashed... | 1:41:09 | 1:41:11 | |
-I cannot get over the fact that 23 is a traitor. -Sand trap! | 1:41:11 | 1:41:15 | |
But now it's whole again. | 1:41:15 | 1:41:17 | |
Now I know how you must have felt when you thought I was a traitor. | 1:41:17 | 1:41:20 | |
-It is demoralising. -Tractor! -Wait, no, it's hanging off again. | 1:41:20 | 1:41:24 | |
I don't know how I missed it. I'm usually very observant. | 1:41:24 | 1:41:27 | |
-Swordfish! -Get Smart? Get lost. | 1:41:27 | 1:41:30 | |
It's canine comedy caper, Hotel For Dogs. | 1:41:33 | 1:41:37 | |
It's kind of like a dinner date, isn't it? | 1:41:37 | 1:41:39 | |
How clever, a little train set bringing out the dogs' food. | 1:41:40 | 1:41:45 | |
Ooh, not so clever, the food's not there in this shot. | 1:41:45 | 1:41:49 | |
Well, they've made a right dog's dinner out of this scene. | 1:41:49 | 1:41:52 | |
Here's Mel Gibson, furious at the side of the road as usual. | 1:41:54 | 1:41:58 | |
But keep an eye on the door in the background. It's firmly shut. | 1:41:58 | 1:42:02 | |
Oops, door's open. | 1:42:07 | 1:42:09 | |
And the door's shut again. | 1:42:12 | 1:42:13 | |
-What does it feel like? -Anyway, Mel's had enough and is off to shout at some police officers. | 1:42:16 | 1:42:21 | |
OK, shouting done, | 1:42:23 | 1:42:25 | |
Mel's now on his way home from this multi-storey car park. | 1:42:25 | 1:42:30 | |
-Where you going? -Well, he's not going to the exit, that's for sure. | 1:42:30 | 1:42:34 | |
Because it's that way. | 1:42:34 | 1:42:36 | |
Mel? Mel? Mel! | 1:42:38 | 1:42:41 | |
A movie masterclass in how not to make a film. | 1:42:43 | 1:42:48 | |
But there are bigger mistakes than the casting of Ben Affleck. | 1:42:48 | 1:42:51 | |
In this scene, we can clearly see that it's daytime. | 1:42:55 | 1:42:58 | |
But when Affleck comes up for air - | 1:43:01 | 1:43:03 | |
here he comes - it's suddenly night time. | 1:43:04 | 1:43:07 | |
What a terrible...film. | 1:43:07 | 1:43:10 | |
An anachronism is when something stands out | 1:43:12 | 1:43:14 | |
from everything around it as just being from the wrong era in time. | 1:43:14 | 1:43:19 | |
Think Prince Philip at a Justin Bieber concert. | 1:43:19 | 1:43:21 | |
A glaring anachronism can immediately ruin any good period movie. | 1:43:21 | 1:43:25 | |
I mean, Pride and Prejudice would have been rubbish if Darcy and Bennett had met via online dating. | 1:43:25 | 1:43:31 | |
Or if the soldiers in 300 had got together at a flash mob. | 1:43:31 | 1:43:34 | |
"Spartans, tonight we meet on Twitter!" | 1:43:34 | 1:43:39 | |
Doesn't really work, does it? | 1:43:39 | 1:43:42 | |
Just what we needed, yet another Robin Hood movie. | 1:43:42 | 1:43:45 | |
But this one is going to be perfect, right down to every last detail. | 1:43:45 | 1:43:50 | |
Like this smoothly cut tree stump that has blatantly been cut with a modern machine. | 1:43:50 | 1:43:55 | |
Because they didn't use axes back then, they used ye olde chainsaw. | 1:43:55 | 1:43:59 | |
In Robin Hood's day, they also used modern war equipment, just like | 1:44:06 | 1:44:09 | |
these World War Two landing craft straight out of Saving Private Ryan. | 1:44:09 | 1:44:13 | |
Despite the fact that they weren't invented until the 1920s. | 1:44:13 | 1:44:16 | |
Only 700 years out. Yaar! | 1:44:16 | 1:44:20 | |
Might as well go the whole hog, Robin. | 1:44:25 | 1:44:27 | |
What's that up in the sky in this shot? | 1:44:27 | 1:44:30 | |
That's right, the vapour trail from an aircraft. | 1:44:30 | 1:44:33 | |
In the year 1200. | 1:44:33 | 1:44:35 | |
The high seas, 1589, and a couple of clips from St Trinian's 2. | 1:44:40 | 1:44:45 | |
This film is full of anachronisms, not least casting Girls Aloud's | 1:44:45 | 1:44:49 | |
Sarah Harding as a 16-year-old schoolgirl. | 1:44:49 | 1:44:52 | |
But in this scene, the clanger is a view through a telescope. | 1:44:57 | 1:45:01 | |
I don't need to tell you that the telescope wasn't invented until 1608. | 1:45:01 | 1:45:06 | |
He doesn't care. | 1:45:06 | 1:45:08 | |
What an honour. | 1:45:10 | 1:45:12 | |
The famous Captain Fritton aboard my humble vessel. | 1:45:13 | 1:45:17 | |
It's everyone's favourite Doctor Who, David Tennant. | 1:45:17 | 1:45:19 | |
He's dressed as a 17th century dandy. | 1:45:19 | 1:45:23 | |
I say, golly gosh. | 1:45:23 | 1:45:26 | |
Only they've just told us it's 1589 and those clothes won't be in fashion for decades. | 1:45:26 | 1:45:31 | |
This is the solution to the greatest threat mankind has ever known. | 1:45:31 | 1:45:34 | |
You're not a Time Lord any more, David. | 1:45:34 | 1:45:36 | |
In the improbably titled Hot Tub Time Machine, | 1:45:39 | 1:45:42 | |
a group of modern-day losers go back to the year 1986 | 1:45:42 | 1:45:45 | |
in a hot tub that's also a...time machine. | 1:45:45 | 1:45:48 | |
No foreign army has ever occupied American soil until now. | 1:45:48 | 1:45:54 | |
Well, I'll believe that, but not this. | 1:45:54 | 1:45:55 | |
A poster for Rambo 3. | 1:45:55 | 1:45:58 | |
It wasn't released until 1988, two years later. | 1:45:58 | 1:46:02 | |
Who's responsible for this mistake? | 1:46:02 | 1:46:04 | |
-The Ruskies. -Yeah, I might have guessed. | 1:46:04 | 1:46:07 | |
Accident blackspot? These aren't accidents. | 1:46:09 | 1:46:12 | |
A cinema classic that struggles to stay in the '60s. | 1:46:12 | 1:46:16 | |
They're throwing themselves into the road to escape all this hideousness. | 1:46:16 | 1:46:19 | |
Throw yourselves into the road, darling! | 1:46:19 | 1:46:21 | |
Tearing down a '60s road in their '60s car with a bottle of '60s booze. | 1:46:21 | 1:46:26 | |
But they seem to have taken a wrong turn and ended up in the 1980s. | 1:46:26 | 1:46:31 | |
See those? Loads of '80s cars. | 1:46:31 | 1:46:35 | |
Well, that's what drink-driving will do for you. | 1:46:35 | 1:46:38 | |
Are you out of your mind? | 1:46:38 | 1:46:39 | |
Pull over, you haven't got a licence. | 1:46:39 | 1:46:41 | |
They also pass a modern motorway sign. | 1:46:41 | 1:46:43 | |
In fact, the M25 didn't exist until 1975, and that's not in the 1960s. | 1:46:43 | 1:46:50 | |
Here's a clip from the smash hit, The Girl With The Dragon Tattoo. | 1:46:55 | 1:47:00 | |
When our hero, Mikael Blomkvist, goes for a jog, he has a flashback to his childhood in the '60s. | 1:47:00 | 1:47:05 | |
Spot the problem? Yeah, this was a childhood in which he wore modern trainers from the future. | 1:47:07 | 1:47:14 | |
Now on to Zodiac, a taut thriller set in the '70s. | 1:47:16 | 1:47:21 | |
But what do we have here reflected on the car? | 1:47:21 | 1:47:24 | |
Well, it's true what they say, | 1:47:24 | 1:47:26 | |
Starbucks are popping up all over the place. Even in the past. | 1:47:26 | 1:47:31 | |
I'll have a double decaf latte with an extra shot of get-your-facts-right. | 1:47:31 | 1:47:35 | |
I don't understand it, if it's so difficult for movie-makers to get the weather right, | 1:47:35 | 1:47:41 | |
then why don't they just write scripts where it's always nice? | 1:47:41 | 1:47:44 | |
Singing In The Rain could just become Singing In The Dry, | 1:47:44 | 1:47:46 | |
The Perfect Storm could become The Perfectly Pleasant Afternoon, | 1:47:46 | 1:47:50 | |
and in An Inconvenient Truth, Al Gore could just reveal | 1:47:50 | 1:47:53 | |
that it's going to get quite mild, much more convenient. | 1:47:53 | 1:47:56 | |
Anyway, here's some weather that we can really complain about. | 1:47:56 | 1:48:00 | |
Let's start with a clip from romantic comedy, Enchanted. | 1:48:01 | 1:48:04 | |
Plenty of snow on the pavement. | 1:48:04 | 1:48:06 | |
It's clearly the middle of winter. | 1:48:06 | 1:48:09 | |
But hang on, a little later in the same scene, the pavement is suddenly snow free. | 1:48:12 | 1:48:18 | |
This has ruined an otherwise completely realistic movie for me. | 1:48:19 | 1:48:23 | |
Here's the opening scene from comedic turkey Paul Blart: Mall Cop. | 1:48:25 | 1:48:30 | |
But the animal we're interested in is the dog. | 1:48:30 | 1:48:32 | |
See how there's a clear shadow underneath the pooch in the bright sunlight? | 1:48:32 | 1:48:37 | |
Well, not in the close-up. | 1:48:37 | 1:48:39 | |
This is actually only the second worst mistake, right after having made the film in the first place. | 1:48:39 | 1:48:45 | |
A small ship on stormy seas. It's being thrown all over the place | 1:48:49 | 1:48:53 | |
in the opening scene of this Brit flick. | 1:48:53 | 1:48:57 | |
We're about to get our first glimpse of the famous boat that rocked, | 1:48:57 | 1:49:01 | |
only problem being that the boat that rocked isn't rocking at all. | 1:49:01 | 1:49:06 | |
Unlike the small boat, it's in much calmer waters. | 1:49:06 | 1:49:09 | |
Here's a fully grown man kerb-crawling for schoolgirls. | 1:49:11 | 1:49:15 | |
How did the concert go? | 1:49:15 | 1:49:17 | |
You can see from the rain on the car that it's absolutely pouring down. | 1:49:17 | 1:49:20 | |
-What are you playing? -Elgar. | 1:49:20 | 1:49:22 | |
Ah, I think it's a shame he spent so much time... | 1:49:22 | 1:49:26 | |
We can always hear the rain, but she's clearly walking in the sunshine. | 1:49:26 | 1:49:30 | |
Looks like the film's continuity person needs a bit of an education. | 1:49:30 | 1:49:33 | |
George Clooney looking for a bit of love action in the winter snow. | 1:49:37 | 1:49:41 | |
So I was in the neighbourhood... | 1:49:41 | 1:49:42 | |
But keep an eye on the snow that's coming down. | 1:49:42 | 1:49:45 | |
It's everywhere, except in this shot, when the snow machine obviously went on the blink. | 1:49:47 | 1:49:51 | |
And it's snowing again. And not. And snow. | 1:49:51 | 1:49:55 | |
And finally, a clip in which some frozen teens | 1:49:57 | 1:49:59 | |
complain about being frozen, in the movie Frozen. | 1:49:59 | 1:50:02 | |
They're stuck on a chairlift and clearly really, really cold. | 1:50:03 | 1:50:07 | |
Frozen even. | 1:50:07 | 1:50:09 | |
It's frigging cold up here! | 1:50:09 | 1:50:12 | |
Hmm, so why can't we see their breath at any point in this scene? | 1:50:12 | 1:50:16 | |
Probably because they're in a cosy, warm studio, that's why. | 1:50:16 | 1:50:18 | |
Props are a regular source of terrible movie mistakes. | 1:50:22 | 1:50:26 | |
Sometimes it's a thing that doesn't look quite right, | 1:50:26 | 1:50:29 | |
like a heavy rock that's clearly made out of polystyrene. | 1:50:29 | 1:50:31 | |
Or something that shouldn't have been in the film in the first place, | 1:50:31 | 1:50:34 | |
like Ray Winstone in the last Indiana Jones movie. | 1:50:34 | 1:50:37 | |
Prop mix-ups could have disastrous consequences. | 1:50:37 | 1:50:40 | |
I mean, what if the man with the golden gun had lost his golden gun? | 1:50:40 | 1:50:43 | |
It would just be called The Man. | 1:50:43 | 1:50:45 | |
And I've not seen the film myself, but what if Schindler had lost his shopping list? | 1:50:45 | 1:50:49 | |
It is a shopping list, isn't it? | 1:50:49 | 1:50:51 | |
If there's one man you can trust in Hollywood, it's Richard Gere. | 1:50:51 | 1:50:56 | |
Here's a scene in which he promises to look after some letters. | 1:50:56 | 1:51:02 | |
Popping off letters for my dad, my mom and my sis. | 1:51:02 | 1:51:06 | |
Don't worry, still got them. | 1:51:06 | 1:51:09 | |
Oh, Richard, you've lost them. | 1:51:09 | 1:51:11 | |
You're neither an officer, nor a gentleman. | 1:51:11 | 1:51:14 | |
If you don't mind me saying, you're still angry. | 1:51:18 | 1:51:21 | |
Rupert Everett now, someone else with no letters. | 1:51:21 | 1:51:23 | |
-Even though he is holding a letter opener. -I'm not angry. | 1:51:23 | 1:51:25 | |
I'm just very, very, very... | 1:51:25 | 1:51:28 | |
Very confused because now the letter opener is a dart. | 1:51:30 | 1:51:34 | |
Disappointed. | 1:51:37 | 1:51:39 | |
Here's Billy Bob Thornton as Bad Santa, | 1:51:44 | 1:51:47 | |
relaxing after a hard day's being miserable. | 1:51:47 | 1:51:49 | |
But keep an eye on the bottle he's swigging from. | 1:51:49 | 1:51:52 | |
You can see it's made of thin plastic. | 1:51:52 | 1:51:55 | |
Shouldn't smash like glass then, eh? | 1:51:55 | 1:51:57 | |
Bad Santa. | 1:51:59 | 1:52:01 | |
It's futuristic sci-fi hit Moon now, which features an epic plot clanger. | 1:52:03 | 1:52:08 | |
Keep your eye on the table for an unexpected reworking | 1:52:08 | 1:52:12 | |
of Little House On The Prairie. | 1:52:12 | 1:52:14 | |
High five. | 1:52:14 | 1:52:16 | |
Only in the future, | 1:52:16 | 1:52:17 | |
it's called Little House On The Ping-pong Table. Weird. | 1:52:17 | 1:52:20 | |
Oh, my God in Heaven! | 1:52:23 | 1:52:25 | |
The mistake in this scene is not the clearly fake cow. | 1:52:25 | 1:52:29 | |
See how Jim Carrey throws his gun away. | 1:52:29 | 1:52:31 | |
Let go, girl, on to greener pastures. | 1:52:34 | 1:52:38 | |
-A quick cow wrestle later... -They're clear cutting a place in heaven for you. | 1:52:38 | 1:52:42 | |
And there's the gun right next to him. | 1:52:42 | 1:52:45 | |
I've got a real beef with this clip. | 1:52:45 | 1:52:48 | |
-John Travolta appears to be running out of time. -I think I need to pray. | 1:52:50 | 1:52:56 | |
As we can see on the black-faced watch he's wearing. | 1:52:56 | 1:52:59 | |
Give me a minute. | 1:52:59 | 1:53:01 | |
Only the next time we see his watch, it changes to a white one. | 1:53:01 | 1:53:06 | |
And there's the black one again. | 1:53:06 | 1:53:09 | |
-Should we tell him? -Tell him the truth or a lie? | 1:53:09 | 1:53:12 | |
Tell him the truth. | 1:53:12 | 1:53:13 | |
Why do extras insist on being referred to as background artists? | 1:53:15 | 1:53:18 | |
Artists? They're standing in a lift or pretending to eat at a diner. | 1:53:18 | 1:53:22 | |
They're not flipping Rembrandt. | 1:53:22 | 1:53:24 | |
But whatever they call themselves, | 1:53:24 | 1:53:25 | |
they need to remember that just because they're in the background | 1:53:25 | 1:53:28 | |
doesn't mean we can't see them. | 1:53:28 | 1:53:30 | |
And their mistakes. As these clips show. | 1:53:30 | 1:53:34 | |
Being an extra isn't so hard. There are just a few basics to get right. | 1:53:35 | 1:53:39 | |
Watch the guy playing a French reporter in mystical blockbuster, | 1:53:39 | 1:53:43 | |
Angels and Demons. His left arm is up. | 1:53:43 | 1:53:46 | |
And now it's down. | 1:53:46 | 1:53:48 | |
Poor workmanship, monsieur. | 1:53:48 | 1:53:50 | |
In this rousing scene from Legally Blonde 2 | 1:53:52 | 1:53:54 | |
Elle's colleagues are shoulder to shoulder in the close shot. | 1:53:54 | 1:53:58 | |
Extra fries. | 1:53:58 | 1:54:00 | |
But in the wide shot, they're suddenly miles apart from each other. | 1:54:02 | 1:54:07 | |
Miles. OK, inches. | 1:54:07 | 1:54:09 | |
Come on, sneak a peek! | 1:54:11 | 1:54:18 | |
Here's Uma Thurman with a hairdo so terrifying it turns people into stone. | 1:54:18 | 1:54:22 | |
And even stone extras screw up their part as we're about to see. | 1:54:26 | 1:54:29 | |
She grabs the girl's wrist at elbow level. | 1:54:29 | 1:54:32 | |
And now it's down by her waist. The snakes will be very angry. | 1:54:32 | 1:54:36 | |
-How are you? -Very well. -Watch out for the extra playing a waiter. | 1:54:38 | 1:54:41 | |
He really doesn't want to miss his big moment. | 1:54:41 | 1:54:45 | |
-May I have a drink? -A drink, of course. | 1:54:45 | 1:54:47 | |
He walks through shot, but then you can see him waiting for his cue right there in the reflection. | 1:54:47 | 1:54:51 | |
-He didn't see me. -Waiter? | 1:54:51 | 1:54:54 | |
-I will have a martini. -Blimey, that's quick service. | 1:54:54 | 1:54:56 | |
Keep an eye on this guy. All he needs to do is clap normally | 1:55:01 | 1:55:04 | |
and not look like a complete weirdo. | 1:55:04 | 1:55:06 | |
Unfortunately, he can't do either. | 1:55:06 | 1:55:09 | |
See you in four years, yeah? | 1:55:09 | 1:55:11 | |
Presumably, because he's been told to clap silently and not ruin the soundtrack. | 1:55:11 | 1:55:15 | |
Let's have one more look at this fine extra work. | 1:55:16 | 1:55:19 | |
-Wow, he stands out like a Jamaican in the Winter Olympics. -Yeah, man. -Oh... | 1:55:19 | 1:55:24 | |
First thing you learn at the academy of not being a crap extra | 1:55:28 | 1:55:32 | |
is don't look at the camera. | 1:55:32 | 1:55:35 | |
This girl manages to do it once... | 1:55:35 | 1:55:38 | |
Twice. | 1:55:38 | 1:55:39 | |
Who wants to see my big ass dancing anyhow? | 1:55:39 | 1:55:42 | |
Three times. Cut! | 1:55:42 | 1:55:45 | |
And finally, here's an extra in the crowd | 1:55:49 | 1:55:52 | |
who's doing absolutely everything wrong. | 1:55:52 | 1:55:54 | |
The audience has been told not to react to the band, but not this guy. | 1:55:54 | 1:55:58 | |
He's mugging at the camera and generally having a one-man party. | 1:55:58 | 1:56:01 | |
Sir, we salute you. | 1:56:01 | 1:56:04 | |
Right, that's all we've got. | 1:56:06 | 1:56:08 | |
Remember, as long as there are movie mistakes, | 1:56:08 | 1:56:10 | |
there will be geeks to laugh at them. Goodnight. | 1:56:10 | 1:56:14 | |
Subtitles by Red Bee Media Ltd | 1:56:32 | 1:56:35 | |
E-mail [email protected] | 1:56:35 | 1:56:38 |