Browse content similar to IV: May the Fourth Be with You. Check below for episodes and series from the same categories and more!
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Bad luck, movie makers, it's us again. | 0:00:46 | 0:00:48 | |
This is the show that takes out its geeky monocle | 0:00:48 | 0:00:51 | |
and scrutinises your puny human efforts. | 0:00:51 | 0:00:53 | |
We'll pore over every frame to find your boobs... | 0:00:53 | 0:00:58 | |
Yeah. Can we have another go? | 0:00:58 | 0:01:00 | |
I'm not sure, "find your boobs" is quite right. Thanks. | 0:01:00 | 0:01:04 | |
-Action! -Where was I? | 0:01:04 | 0:01:06 | |
Ah, yes. | 0:01:06 | 0:01:07 | |
This may look, to you, like a renovated church, | 0:01:07 | 0:01:10 | |
but, in fact, it's a nerve hub. | 0:01:10 | 0:01:11 | |
It's a nucleus - an offshoot of the Matrix. | 0:01:11 | 0:01:14 | |
Well, all right, it is a renovated church | 0:01:14 | 0:01:16 | |
but just off camera, in the crypt, is a team of pale-faced, muttering, | 0:01:16 | 0:01:20 | |
gibbering, almost subhuman creatures that we call our researchers. | 0:01:20 | 0:01:25 | |
They've taken dedication to the point of actual mania. | 0:01:25 | 0:01:27 | |
They're now unable even to go for a cup of coffee | 0:01:27 | 0:01:30 | |
without going up to complete strangers and shouting, | 0:01:30 | 0:01:33 | |
"You were holding that cup in the other hand five minutes ago, you LOSER!" | 0:01:33 | 0:01:37 | |
Either that or they're just looking at Facebook | 0:01:37 | 0:01:39 | |
and cutting and pasting from IMDB but it's probably the first one. | 0:01:39 | 0:01:44 | |
On tonight's show... | 0:01:44 | 0:01:45 | |
And which of these films made the most mistakes in just one scene? | 0:01:56 | 0:01:59 | |
Find out later! | 0:01:59 | 0:02:00 | |
So, on with the show. | 0:02:02 | 0:02:04 | |
Now, if you're anything like me, | 0:02:04 | 0:02:05 | |
you've been transported inside the software world | 0:02:05 | 0:02:08 | |
of a mainframe computer where you have to offer up | 0:02:08 | 0:02:10 | |
astonishing movie blunders in an attempt to get back out. | 0:02:10 | 0:02:13 | |
But you're not like me at all - quite the opposite. | 0:02:13 | 0:02:15 | |
I'm on the television and you're poised over Twitter | 0:02:15 | 0:02:18 | |
ready to be all cross at me for doing another clip show - | 0:02:18 | 0:02:20 | |
to which I can only reply, "Welcome to Great Movie Mistakes IV!" | 0:02:20 | 0:02:24 | |
And by the way - only one of us gets to ride that incredible Laser Bike. | 0:02:24 | 0:02:28 | |
Hashtag, it's me. | 0:02:28 | 0:02:30 | |
Let's look at our first batch of Hollywood howlers. | 0:02:31 | 0:02:34 | |
I want what you owe me... | 0:02:36 | 0:02:37 | |
Here's The Dark Knight Rises - | 0:02:37 | 0:02:40 | |
big scale thrills but a huge, preposterous letdown. | 0:02:40 | 0:02:42 | |
-Nice outfit. Those heels make it tough to walk? -I don't know. | 0:02:42 | 0:02:47 | |
Good question, though, as only moments later we get the answer. | 0:02:48 | 0:02:51 | |
They're clearly retractable heels that disappear when running | 0:02:54 | 0:02:57 | |
and brawling's on the cards. | 0:02:57 | 0:02:59 | |
Could Bruce Wayne of stately Wayne Manor be a benefits cheat? | 0:03:03 | 0:03:07 | |
Consider this evidence. | 0:03:07 | 0:03:08 | |
Here he's having a chat with Mr Fox... | 0:03:08 | 0:03:11 | |
If you filed your entire R&D budget into a fusion project... | 0:03:11 | 0:03:14 | |
..but as soon as he realises the cameras are on him | 0:03:14 | 0:03:17 | |
a walking stick suddenly appears. | 0:03:17 | 0:03:20 | |
Next year expect to see him break dancing | 0:03:20 | 0:03:22 | |
on Britain's Got Talent. | 0:03:22 | 0:03:23 | |
I can't. I can't, Lucius. | 0:03:23 | 0:03:25 | |
Fighting and chaos reigns in Gotham City | 0:03:28 | 0:03:30 | |
and the smell of testosterone is high | 0:03:30 | 0:03:33 | |
but one man seems more lavender-scented... | 0:03:33 | 0:03:36 | |
Did you see him? Rewind! | 0:03:36 | 0:03:38 | |
This chap's fighting nobody at all! | 0:03:40 | 0:03:43 | |
Listen, matey, you're only supposed to punch the air | 0:03:43 | 0:03:45 | |
when you win a fight. | 0:03:45 | 0:03:47 | |
Glossy and entertaining as The Hunger Games was, | 0:03:50 | 0:03:53 | |
it left many fans disappointed - and is this why. | 0:03:53 | 0:03:56 | |
Look at the flowers being thrown at the parading chariots. | 0:03:56 | 0:03:59 | |
We will not be overlooked. Now, I LOVE that! | 0:03:59 | 0:04:02 | |
Now look at the roadway - completely clear. | 0:04:05 | 0:04:07 | |
No wonder everyone's so hungry if all their vegetation self-destructs. | 0:04:07 | 0:04:11 | |
Politically thrilling political thriller The Ides Of March | 0:04:15 | 0:04:18 | |
has Philip Seymour Hoffman visiting a pretend barber | 0:04:18 | 0:04:20 | |
who pretends to cut his hair. | 0:04:20 | 0:04:23 | |
I mean, it looks like a nice close cut but where are all the clippings? | 0:04:23 | 0:04:27 | |
Nothing's actually been cut off. | 0:04:27 | 0:04:29 | |
Ah, ready to face the world with a fresh new non-haircut. | 0:04:30 | 0:04:34 | |
Lacklustre and rushed - it's the not-so-Amazing Spider-Man | 0:04:38 | 0:04:41 | |
where Peter and The Lizard are having a dust-up. | 0:04:41 | 0:04:45 | |
And boy, does Peter get dusted up! | 0:04:45 | 0:04:47 | |
Though realising that he'll upset Aunt May, | 0:04:48 | 0:04:51 | |
he quickly cleans himself up again - a bit. | 0:04:51 | 0:04:53 | |
Gwen, I worry if Peter's the right guy for you. | 0:04:59 | 0:05:02 | |
When you chat, although you may think you've got his attention | 0:05:02 | 0:05:05 | |
with his earphones out... | 0:05:05 | 0:05:06 | |
-Oh, it's Thursday. -It's Thursday? -What happened to your eye? | 0:05:06 | 0:05:10 | |
..he's only half-listening as his right earphone springs back in. | 0:05:10 | 0:05:14 | |
No, love, the right ear! | 0:05:14 | 0:05:16 | |
-Hey. -What do we have here? A concealed weapon? | 0:05:19 | 0:05:21 | |
Hey, it's his grandmother's suit! | 0:05:21 | 0:05:23 | |
Now this a blatant mistake from the fairly good, | 0:05:23 | 0:05:25 | |
reasonably fun Men In Black III. | 0:05:25 | 0:05:28 | |
..before you press that... | 0:05:28 | 0:05:29 | |
I'll leave it to you to work out what the error is. | 0:05:29 | 0:05:31 | |
If you can't get it, | 0:05:31 | 0:05:32 | |
you probably need some suddenly appearing glasses. | 0:05:32 | 0:05:35 | |
Ah, that's a giveaway. | 0:05:35 | 0:05:37 | |
..is a standard issue Neuralyzer. | 0:05:37 | 0:05:39 | |
In this scene from the surprisingly tense, watch-through-your-fingers, | 0:05:42 | 0:05:45 | |
Woman In Black, Harry Potter's brought a magic dog with him, | 0:05:45 | 0:05:48 | |
from Hogwarts. There he is overtaking the dog... | 0:05:48 | 0:05:52 | |
and now suddenly the dog's in front of him again. | 0:05:52 | 0:05:55 | |
It's probably some sort of spell. | 0:05:56 | 0:05:59 | |
"Teleportio!" or something. | 0:05:59 | 0:06:01 | |
I don't know if you've noticed this, but some films like | 0:06:02 | 0:06:05 | |
The Bourne Identity and Annie just have normal heroes in them. | 0:06:05 | 0:06:08 | |
Whereas all the best films have superheroes in them, | 0:06:08 | 0:06:11 | |
who are like normal heroes but superer. | 0:06:11 | 0:06:13 | |
One of my favourite superhero films this year was Avengers Assembly, | 0:06:13 | 0:06:17 | |
where all the Avengers and their teachers | 0:06:17 | 0:06:19 | |
got together in the main hall and sang hymns. | 0:06:19 | 0:06:21 | |
I'm really looking forward to the sequels - Avengers Harvest Festival, | 0:06:21 | 0:06:24 | |
Avengers Nativity and Avengers Wet Break. | 0:06:24 | 0:06:27 | |
Right, shut up, everyone, it's Avengers Assemble, | 0:06:27 | 0:06:30 | |
which is MASSIVELY exciting. | 0:06:30 | 0:06:32 | |
Here Captain America takes a shot, | 0:06:32 | 0:06:34 | |
causing terrible damage to his costume and body... | 0:06:34 | 0:06:37 | |
..and over here everyone's second favourite Sherlock Holmes | 0:06:39 | 0:06:42 | |
but first favourite Iron Man, Robert Downey Jr, | 0:06:42 | 0:06:44 | |
has a great big cut to his right eyebrow... | 0:06:44 | 0:06:46 | |
..but here's proof of the power of positive thinking - | 0:06:48 | 0:06:51 | |
all evidence of damage has gone from the Captain's cozzie | 0:06:51 | 0:06:54 | |
and the Iron's cut has miraculously healed. | 0:06:54 | 0:06:56 | |
Now Thor and Iron Man are having a scrap. | 0:06:59 | 0:07:02 | |
Thor sends Iron Man flying off into the woods. | 0:07:02 | 0:07:06 | |
You want me to put the hammer down?! | 0:07:06 | 0:07:08 | |
Then when Thor turns on Captain America, he's all like, | 0:07:08 | 0:07:10 | |
"My American shield will protect me," | 0:07:10 | 0:07:13 | |
and Thor then flies off into the woods... | 0:07:13 | 0:07:16 | |
..but when they all get up, they're about a metre apart. | 0:07:27 | 0:07:30 | |
Those Avengers Assembled a little too quickly, if you ask me! | 0:07:30 | 0:07:34 | |
Are we done here? | 0:07:34 | 0:07:35 | |
Part of the skill of being a special effects wizard is making sure | 0:07:37 | 0:07:41 | |
that none of your tricks of the trade are exposed. | 0:07:41 | 0:07:43 | |
Unfortunately in this clip we have the FX version of an upskirt... | 0:07:43 | 0:07:47 | |
..as the ratchet cable used to spin the car is clearly visible. | 0:07:52 | 0:07:56 | |
There are some superheroes you really invest in | 0:08:00 | 0:08:02 | |
and others nobody gives a toss about. | 0:08:02 | 0:08:05 | |
Captain America, now, and you'll see here | 0:08:06 | 0:08:09 | |
how Steve goes into the getting-buff-matron | 0:08:09 | 0:08:11 | |
in perfect-fitting trousers... | 0:08:11 | 0:08:13 | |
Mr Stark! | 0:08:17 | 0:08:18 | |
..which still fit perfectly after he's gone all big. | 0:08:21 | 0:08:24 | |
Still, it's by that logic that we all avoided seeing | 0:08:24 | 0:08:27 | |
Lou Ferrigno's naughty bits, so, you know, every cloud. | 0:08:27 | 0:08:30 | |
After some impressive underwater rough and tumble, | 0:08:42 | 0:08:45 | |
Steve throws Heinz out of the water and onto the dock | 0:08:45 | 0:08:48 | |
but, miraculously, both of them are dry. | 0:08:48 | 0:08:51 | |
This is a shame, I'd have loved to see them both have a rub down | 0:08:53 | 0:08:56 | |
with some fluffy towels before he takes that deadly pill. | 0:08:56 | 0:08:59 | |
Tomorrow shall take its place. | 0:09:01 | 0:09:03 | |
One of Captain America's unsung superpowers | 0:09:08 | 0:09:10 | |
is the ability to deteriorate buildings. | 0:09:10 | 0:09:13 | |
Here he is making an evil Nazi railing break by sheer | 0:09:13 | 0:09:17 | |
power of charisma and pectorals. | 0:09:17 | 0:09:19 | |
Intact here... | 0:09:19 | 0:09:20 | |
-Got to be a rope or something! -Just go! Get out of here! | 0:09:27 | 0:09:30 | |
Not going without you! | 0:09:30 | 0:09:32 | |
..and broken here. | 0:09:32 | 0:09:34 | |
In the sequel he takes down Stalin with some well-placed dry rot. | 0:09:34 | 0:09:37 | |
A shocking, sad and pivotal scene from the Amazing Spider-Man, here, | 0:09:41 | 0:09:44 | |
as Uncle Ben's shot down... | 0:09:44 | 0:09:47 | |
..but here's proof Charlie Sheen's dad's just doing his actor day job. | 0:09:48 | 0:09:52 | |
See how he falls to the ground with glasses on? | 0:09:52 | 0:09:55 | |
Well, he must be taking a nap, | 0:09:57 | 0:09:59 | |
as when Peter rushes to help him here, the glasses are off. | 0:09:59 | 0:10:02 | |
Someone call an ambulance! | 0:10:02 | 0:10:04 | |
Keep your eyes on this numberplate. | 0:10:07 | 0:10:09 | |
Hmm, is this Eastern Europe? | 0:10:09 | 0:10:11 | |
Thought so. | 0:10:11 | 0:10:13 | |
This is the contrived, forgotten Ghost Rider sequel. | 0:10:13 | 0:10:16 | |
Look at the numberplate now - | 0:10:19 | 0:10:21 | |
it's reversed. | 0:10:21 | 0:10:22 | |
That's the problem with ghost riders - | 0:10:25 | 0:10:27 | |
the numberplasms on their motorspookles | 0:10:27 | 0:10:30 | |
are very unreli-I-I-I-able! | 0:10:30 | 0:10:32 | |
Finding out they've developed superpowers | 0:10:36 | 0:10:38 | |
makes the kids in effective low-budgeter Chronicle | 0:10:38 | 0:10:40 | |
really excited, | 0:10:40 | 0:10:41 | |
and, like most teenage boys, they celebrate | 0:10:41 | 0:10:43 | |
by trying to hurt each other. | 0:10:43 | 0:10:45 | |
Steve gets Matt slap-bang under the right eye... | 0:10:46 | 0:10:49 | |
THEY LAUGH | 0:10:49 | 0:10:50 | |
Dude, get off! Get off! What are you doing? | 0:10:52 | 0:10:57 | |
-Underhand. -I tried, man. I tried. | 0:10:57 | 0:10:59 | |
..but soon they're laughing on the other side of their faces. | 0:10:59 | 0:11:02 | |
Sorry, bruising on the other side of their faces. | 0:11:02 | 0:11:04 | |
Now we come to the mistakes, which are so asinine, so dumb, | 0:11:06 | 0:11:10 | |
so daft, so idiotic, so brainless, so thick, so inept | 0:11:10 | 0:11:14 | |
and just so plain stupid they get a whole category to themselves. | 0:11:14 | 0:11:18 | |
'Cut!' | 0:11:19 | 0:11:21 | |
What? That was perfect. I'm not doing it again. That was fine. | 0:11:21 | 0:11:25 | |
How to completely sell out a joke - | 0:11:25 | 0:11:27 | |
basically, what you do, is have a funny idea, | 0:11:27 | 0:11:29 | |
like these commune people in the utterly standard Wanderlust, | 0:11:29 | 0:11:32 | |
making a feature of never clapping but finger-rubbing. | 0:11:32 | 0:11:35 | |
This is much less aggressive than clapping. | 0:11:35 | 0:11:38 | |
Try it. Try it. Seriously, it's better. | 0:11:38 | 0:11:41 | |
Two, three... | 0:11:41 | 0:11:42 | |
Then, later on, have the exact same people clap like us normal folk. | 0:11:42 | 0:11:46 | |
That's one joke that won't be bothering anyone again! | 0:11:46 | 0:11:49 | |
Marginally diverting Man On A Ledge next, | 0:11:54 | 0:11:56 | |
and in this clip, man not-yet-on-a-ledge | 0:11:56 | 0:11:59 | |
is being very careful to remove his fingerprints | 0:11:59 | 0:12:01 | |
from everything he touches. | 0:12:01 | 0:12:03 | |
Oh, except the window he's going to open with his bare, fingerprinty, | 0:12:03 | 0:12:06 | |
made-of-clue hands. | 0:12:06 | 0:12:08 | |
Rookie mistake. | 0:12:08 | 0:12:09 | |
Like using a Dyson Airblade then touching the toilet door. | 0:12:09 | 0:12:12 | |
So where's the first place the forensics dust for prints? | 0:12:15 | 0:12:19 | |
Easy! But let's spell it out to you. | 0:12:19 | 0:12:21 | |
Oh. | 0:12:25 | 0:12:26 | |
I'm a bit nervous of using the word "headcount" | 0:12:29 | 0:12:31 | |
when one of the icky Final Destination films | 0:12:31 | 0:12:33 | |
is concerned, but listen to this... | 0:12:33 | 0:12:36 | |
Among the survivors were eight employees of Presage Paper, | 0:12:36 | 0:12:40 | |
on their way to a business retreat, | 0:12:40 | 0:12:42 | |
the other 17 employees were killed in the collapse... | 0:12:42 | 0:12:45 | |
Eight survivors and 17 dead. | 0:12:45 | 0:12:47 | |
That's 25 people. | 0:12:47 | 0:12:48 | |
So why have they only bothered here with 18 passengers plus the driver? | 0:12:50 | 0:12:54 | |
Not the sort of cuts I was expecting in this film. | 0:12:55 | 0:12:58 | |
You know in the Sound Of Music | 0:13:00 | 0:13:01 | |
where Julie Andrews is bellowing her head off on a bus | 0:13:01 | 0:13:03 | |
and none of the other passengers bats an eyelid? | 0:13:03 | 0:13:05 | |
Well, this is exactly like that, only with werewolves. | 0:13:05 | 0:13:08 | |
Anyway, there are evil hell creatures tearing cars apart... | 0:13:10 | 0:13:14 | |
but the people on the pavement stroll on taking as little notice | 0:13:14 | 0:13:18 | |
as the cinema-going public does of the Underworld films. | 0:13:18 | 0:13:21 | |
It's the better-than-expected Fright Night remake. | 0:13:24 | 0:13:27 | |
Now look at how Charlie's mum | 0:13:27 | 0:13:29 | |
protests at mowing down poor Jerry here. | 0:13:29 | 0:13:31 | |
Mom, just hit it! | 0:13:31 | 0:13:32 | |
Charlie, no! | 0:13:32 | 0:13:34 | |
Just BLEEP hit it! | 0:13:34 | 0:13:36 | |
But even though Charlie grabs the wheel, | 0:13:38 | 0:13:39 | |
it's quite obvious it's his mum with the foot on the accelerator, | 0:13:39 | 0:13:43 | |
carrying out the very thing she doesn't want to do. | 0:13:43 | 0:13:46 | |
I'm not doing a joke about women drivers. I'm just not. | 0:13:46 | 0:13:49 | |
Hey, Mom. | 0:13:51 | 0:13:53 | |
Watch this for an absolute ruddy mess-up and a half, | 0:13:54 | 0:13:57 | |
in the seen-it-all-before time-travel movie, In Time. | 0:13:57 | 0:14:01 | |
Happy 50th! | 0:14:01 | 0:14:03 | |
50? That's right. | 0:14:03 | 0:14:05 | |
25 for the 25th time. | 0:14:06 | 0:14:08 | |
Did you spot it? | 0:14:10 | 0:14:11 | |
Course, 25 for the 25th time would actually be her 49th birthday. | 0:14:11 | 0:14:15 | |
..for a girlfriend... | 0:14:15 | 0:14:17 | |
Tsk. I bet the guys responsible | 0:14:17 | 0:14:19 | |
celebrated the millennium in 2000 as well, like idiots. | 0:14:19 | 0:14:22 | |
Now where's my real ale? | 0:14:22 | 0:14:24 | |
Men, eh? Won't ever listen to directions. | 0:14:27 | 0:14:30 | |
In this clip from a big waste of time called Abduction, | 0:14:30 | 0:14:33 | |
Nathan is clearly told to go to... | 0:14:33 | 0:14:35 | |
Got that, Nathan? | 0:14:41 | 0:14:43 | |
Clarendon Avenue. This is the street. | 0:14:43 | 0:14:45 | |
Avenue? It's Boulevard, for goodness' sake! | 0:14:45 | 0:14:49 | |
You get asked to do one simple thing... AND that's Apartment 202. | 0:14:49 | 0:14:54 | |
Well, this is a disas... Oh... | 0:14:54 | 0:14:56 | |
..it's the right house despite all that. | 0:14:57 | 0:14:59 | |
Lucky! | 0:14:59 | 0:15:00 | |
Whether the Earl of Oxford was actually Shakespeare is still | 0:15:03 | 0:15:06 | |
open to debate. | 0:15:06 | 0:15:07 | |
No, it isn't. He wasn't! | 0:15:07 | 0:15:09 | |
But we can all agree he was one hell of a horticulturist. | 0:15:10 | 0:15:14 | |
Here in the abominable Anonymous, | 0:15:14 | 0:15:16 | |
he presents Ben Jonson with a red and white Tudor Rose. | 0:15:16 | 0:15:20 | |
My Lord. | 0:15:20 | 0:15:21 | |
The Tudor Rose. | 0:15:21 | 0:15:22 | |
The most beautiful of flowers, do you not think? | 0:15:24 | 0:15:27 | |
Problem is, the Tudor Rose is not so much your actual flower, | 0:15:27 | 0:15:31 | |
more your totally invented heraldic symbol. | 0:15:31 | 0:15:33 | |
Hard to come by. | 0:15:33 | 0:15:34 | |
For any science fiction fans who may be watching, | 0:15:34 | 0:15:37 | |
I have prepared the following statement. | 0:15:37 | 0:15:39 | |
"Doctor Spock said 'Beam Me Up, Scotty' and walked onto the bridge | 0:15:39 | 0:15:42 | |
"of The Firefly where he bumped into the character Doctor Who who | 0:15:42 | 0:15:46 | |
"was chatting to Hans Solos about the time he was frozen in Kryptonite." | 0:15:46 | 0:15:50 | |
The sci-fi fans have probably gone away now, | 0:15:51 | 0:15:53 | |
moaning about our inaccuracies on their special internet forums, | 0:15:53 | 0:15:56 | |
so we can enjoy some mistakes in sci-fi films | 0:15:56 | 0:15:59 | |
without destroying their world. | 0:15:59 | 0:16:01 | |
The biggest problem in the old west, after cholera, | 0:16:01 | 0:16:04 | |
was how to accessorise. | 0:16:04 | 0:16:06 | |
Here's Daniel Craig in the humourless Cowboys & Aliens | 0:16:06 | 0:16:08 | |
deciding that his special "alion" bracelet is too heavy to ride in. | 0:16:08 | 0:16:12 | |
Now he's changed his mind and it's on again. | 0:16:17 | 0:16:20 | |
Honestly, no wonder cowboys take so long to get ready. | 0:16:20 | 0:16:24 | |
Or is that women? I always get them mixed up. | 0:16:24 | 0:16:26 | |
That's why I found Brokeback Mountain so confusing. | 0:16:26 | 0:16:29 | |
In this bar scene, James Bond's drinks are not so much | 0:16:33 | 0:16:36 | |
"shaken not stirred" as "poured not drunk". | 0:16:36 | 0:16:39 | |
Where did you get your bracelet? | 0:16:41 | 0:16:42 | |
There's something you don't know about me, lady. | 0:16:45 | 0:16:48 | |
You don't remember anything, do you? | 0:16:50 | 0:16:52 | |
What do you want? | 0:16:55 | 0:16:56 | |
He's so busy sloshing out the whisky | 0:16:58 | 0:17:00 | |
that he forgets to do the drinking it part. | 0:17:00 | 0:17:02 | |
And all without a coaster, too. | 0:17:02 | 0:17:04 | |
You do not want to see the rings on that bar. | 0:17:04 | 0:17:06 | |
Some she-actors find getting off horses unladylike, | 0:17:11 | 0:17:14 | |
so in this clip Olivia Wilde bypasses the problem | 0:17:14 | 0:17:17 | |
by simply refusing to do the middle bit. | 0:17:17 | 0:17:19 | |
"Look, I'll just stand next to it, OK?" | 0:17:20 | 0:17:22 | |
"Yes, I know I was sitting on it in the last shot. Nobody'll notice." | 0:17:25 | 0:17:28 | |
Putting the "bored" into "board game", | 0:17:31 | 0:17:33 | |
here's the horribly unsubtle Battleship. | 0:17:33 | 0:17:35 | |
Here, not only does Alex show off his pathetic robbery skills, | 0:17:35 | 0:17:39 | |
if you look at the clock on the CCTV feed, | 0:17:39 | 0:17:42 | |
he also manages to leap backwards and forward in time | 0:17:42 | 0:17:44 | |
like a rubbish Doctor Who. | 0:17:44 | 0:17:46 | |
It would seem that Commander Stone Hopper's mum | 0:17:50 | 0:17:52 | |
must've popped his gloves on idiot strings | 0:17:52 | 0:17:54 | |
as he manages to slip them on and off throughout this scene | 0:17:54 | 0:17:57 | |
with ease. | 0:17:57 | 0:17:58 | |
FOGHORN BLOWS | 0:17:58 | 0:18:01 | |
They're off now. | 0:18:05 | 0:18:06 | |
But they're back here. | 0:18:11 | 0:18:12 | |
But see how the ultrasonic attack shatters all the glass? | 0:18:15 | 0:18:18 | |
Well, maybe Mum knitted a binoculars case, | 0:18:18 | 0:18:21 | |
as these lenses are fine. | 0:18:21 | 0:18:24 | |
Thanks, Mum! | 0:18:24 | 0:18:25 | |
What the hell is this? | 0:18:25 | 0:18:26 | |
When you're under attack from a ruddy great big robot ship | 0:18:29 | 0:18:32 | |
from outer space, it's important that you have a change of pants | 0:18:32 | 0:18:34 | |
and plenty of ammunition. | 0:18:34 | 0:18:37 | |
Especially when your cannons get destroyed. | 0:18:37 | 0:18:39 | |
You all right? | 0:18:45 | 0:18:46 | |
They ain't going to save this battleship, no way. | 0:18:46 | 0:18:49 | |
But, hey, why not just grow them back instantaneously | 0:18:49 | 0:18:51 | |
like these guys do in the following shot? | 0:18:51 | 0:18:53 | |
Fresh water. | 0:18:56 | 0:18:57 | |
Contagion now, which is different from Outbreak because... | 0:18:57 | 0:19:01 | |
Well, because it's... Look, it just is, all right? | 0:19:01 | 0:19:03 | |
To illustrate the power of the disease, | 0:19:04 | 0:19:06 | |
here's a miserable montage of deserted cities. | 0:19:06 | 0:19:09 | |
As we know, only three things could survive a global virus. | 0:19:09 | 0:19:13 | |
Sea creatures, cockroaches, and the ruddy rush-hour traffic. | 0:19:13 | 0:19:16 | |
Charming '80s-based "alion" fun with Super 8 now, | 0:19:23 | 0:19:26 | |
and evidence that Hollywood really is another world. | 0:19:26 | 0:19:28 | |
When they need to move a bus, they do it with a massive chain... | 0:19:29 | 0:19:32 | |
..as you can see here, | 0:19:36 | 0:19:37 | |
whereas the rest of us earthlings look on and say, | 0:19:37 | 0:19:40 | |
"Why not just drive the bus?" | 0:19:40 | 0:19:42 | |
The real reason why kids shouldn't play with fireworks now. | 0:19:45 | 0:19:48 | |
It's a little-known fact that when anyone under the age of 18 | 0:19:48 | 0:19:51 | |
so much as holds a sparkler, like young Joe here... | 0:19:51 | 0:19:54 | |
..it will spontaneously light itself. | 0:19:57 | 0:19:59 | |
'I'll never forget that year.' | 0:20:01 | 0:20:03 | |
'I was young, I was full of hope, | 0:20:03 | 0:20:05 | |
'I was shooting Great Movie Mistakes IV.' | 0:20:05 | 0:20:07 | |
'Of course, I didn't know then what a fool I was, | 0:20:07 | 0:20:10 | |
'none of us saw what was just round the corner. | 0:20:10 | 0:20:12 | |
'Then, one day, while I was introducing a section | 0:20:12 | 0:20:15 | |
'on biographical films, it all became clear to me.' | 0:20:15 | 0:20:18 | |
But you're not going to find out what became clear to me, | 0:20:18 | 0:20:21 | |
because like all biographical films, we're going to jump | 0:20:21 | 0:20:23 | |
straight into flashback the moment it looks like getting interesting. | 0:20:23 | 0:20:27 | |
Robert! Time for your tea! It's Spangles and Angel Delight! | 0:20:27 | 0:20:31 | |
Sigmund Freud is the subject of the revealing but somewhat mediocre | 0:20:31 | 0:20:35 | |
A Dangerous Method. | 0:20:35 | 0:20:37 | |
Here, Freud is packing up his books, and is probably so busy | 0:20:37 | 0:20:40 | |
thinking about rude thoughts and mucky stuff | 0:20:40 | 0:20:42 | |
that he doesn't even notice that when he picks his book up, | 0:20:42 | 0:20:45 | |
it stays where it is. | 0:20:45 | 0:20:47 | |
..excise his father's name from the cartouches. | 0:20:47 | 0:20:49 | |
Then, suddenly, it's on his papers. | 0:20:49 | 0:20:51 | |
This was something traditionally done by all new kings who didn't | 0:20:51 | 0:20:55 | |
wish their father's name to continue to be public currency. | 0:20:55 | 0:20:57 | |
And then he puts it back on his papers to leave. | 0:20:59 | 0:21:02 | |
Now for a bit of J Edgar, the flat and dreary biopic | 0:21:06 | 0:21:09 | |
of the ex-Director of the FBI and inventor of the Dyson. | 0:21:09 | 0:21:11 | |
Look at this cereal box that Tolson puts down. | 0:21:13 | 0:21:16 | |
There's a short conversation... | 0:21:18 | 0:21:20 | |
..and as Tolson leaves, he picks up the box, | 0:21:22 | 0:21:24 | |
which now faces the other way. | 0:21:24 | 0:21:25 | |
As continuity goes, that's not g-rrrrrrrrreat. | 0:21:26 | 0:21:30 | |
Guns and God now, in the very earnest and worthy | 0:21:35 | 0:21:37 | |
and all those sorts of words Machine Gun Preacher. | 0:21:37 | 0:21:41 | |
Jan Leeming looks on proudly as Gerald or Gerard Butler is baptised | 0:21:41 | 0:21:46 | |
and does all kinds of face-acting. | 0:21:46 | 0:21:48 | |
Hallelujah! | 0:21:54 | 0:21:56 | |
In the name of our Lord, Jesus Christ... | 0:21:56 | 0:21:58 | |
Problem is, all his clothes are already wet. | 0:21:58 | 0:22:00 | |
He's getting born again again. | 0:22:00 | 0:22:02 | |
The biggest movie mistake of all, of course, is Madonna's film career. | 0:22:06 | 0:22:10 | |
In her self-directed monstrosity W.E. | 0:22:11 | 0:22:14 | |
her research into the Royal Family is impeccable. | 0:22:14 | 0:22:17 | |
'King George III has died, and the nation mourns.' | 0:22:19 | 0:22:22 | |
Well, George III died in 1820. She meant George V. | 0:22:22 | 0:22:27 | |
Either that or she turned over two pages | 0:22:27 | 0:22:30 | |
in the Ladybird Book Of Kings And Queens. | 0:22:30 | 0:22:33 | |
Nothing really matters, | 0:22:34 | 0:22:36 | |
sang pop pensioner Madonna as a line in a song once. | 0:22:36 | 0:22:39 | |
And historical accuracy is one of them. | 0:22:39 | 0:22:42 | |
Wallis and Edward are papped to within an inch of their lives, | 0:22:42 | 0:22:46 | |
provoking absolute outrage in the British press. | 0:22:46 | 0:22:49 | |
In actual fact, | 0:22:49 | 0:22:50 | |
UK newspapers carefully covered up the scandal, and the story | 0:22:50 | 0:22:53 | |
wasn't reported until after Edward's abdication the following December. | 0:22:53 | 0:22:58 | |
Madge would be hung up for that howler! | 0:22:58 | 0:23:01 | |
Would you look at that? | 0:23:04 | 0:23:05 | |
Me, presenting Great Movie Mistakes Minus One. | 0:23:05 | 0:23:08 | |
It was a prequel we made to set up some back story for the shows. | 0:23:08 | 0:23:12 | |
What makes me so keen to point out sometimes quite trivial mistakes | 0:23:12 | 0:23:16 | |
in movies, why do I hate continuity errors so very much, | 0:23:16 | 0:23:20 | |
what is the big problem | 0:23:20 | 0:23:22 | |
with seeing camera equipment reflected in things? | 0:23:22 | 0:23:25 | |
Yeah, it's all here in Great Movie Mistakes Minus One: The Prequel. | 0:23:25 | 0:23:29 | |
Because prequels are great. | 0:23:29 | 0:23:32 | |
Effective apocalyptic thrills in Rise Of The Planet Of The Apes, | 0:23:34 | 0:23:38 | |
or should that be Disappearance Of The Bodies Of The Apes, | 0:23:38 | 0:23:41 | |
as clearly, while many of these apes are being shot at | 0:23:41 | 0:23:43 | |
and are likely to, you know, peg out... | 0:23:43 | 0:23:45 | |
..when Will later drives away there's not a single | 0:23:50 | 0:23:53 | |
dead simian to be seen. | 0:23:53 | 0:23:54 | |
Maybe this was the pre-watershed edit for Ape TV. | 0:23:57 | 0:24:00 | |
Get these people off the bridge! | 0:24:03 | 0:24:06 | |
OK, car fans, hands up who knows the difference between a Nissan | 0:24:06 | 0:24:08 | |
and a Volkswagen? | 0:24:08 | 0:24:10 | |
I don't know why you've got your hand up, Serkis. | 0:24:10 | 0:24:12 | |
One minute you're standing on a Nissan Maxima... | 0:24:14 | 0:24:17 | |
..the next it's a VW Jetta. | 0:24:21 | 0:24:23 | |
Oh well, you know what they say. | 0:24:23 | 0:24:25 | |
You pay peanuts, you get your cars mixed up. | 0:24:25 | 0:24:27 | |
Oh, take a look at these lovely gloves, | 0:24:32 | 0:24:33 | |
because for as long as costume designers provide actors | 0:24:33 | 0:24:36 | |
with gloves, actors will find ways | 0:24:36 | 0:24:38 | |
to forget whether they should be wearing them or not. | 0:24:38 | 0:24:41 | |
Isn't that right, Noomi Rapace | 0:24:42 | 0:24:44 | |
in plot-hole-riddled-shambles that is Prometheus? | 0:24:44 | 0:24:47 | |
Out now, from Prometheus Products, the all-new three-in-one flashlight! | 0:24:52 | 0:24:55 | |
Boarding an "alion" spaceship? Need a flashlight with three lights? | 0:24:57 | 0:25:00 | |
Not a problem, eh, Holloway? | 0:25:00 | 0:25:03 | |
More of a one-light-flashlight kind of guy? | 0:25:06 | 0:25:09 | |
With the Prometheus Three-In-One, it's easy. | 0:25:09 | 0:25:11 | |
Joan from Tenby has got hers. Buy now! | 0:25:11 | 0:25:14 | |
Prometheus was one big movie mistake, | 0:25:18 | 0:25:19 | |
compared to the original and best, Alien, but that had errors too. | 0:25:19 | 0:25:23 | |
Ignore the fact that it's 2122 | 0:25:24 | 0:25:26 | |
and they're still using Commodore VIC-20s. | 0:25:26 | 0:25:28 | |
It seems in space no-one can see you spell, | 0:25:28 | 0:25:31 | |
as "Alignment" has an extra "L". | 0:25:31 | 0:25:33 | |
Can I do the "it's one 'L' of a movie" joke? | 0:25:34 | 0:25:37 | |
No? Gits. | 0:25:37 | 0:25:39 | |
Parker here can never get a word in edgeways at dinner parties, | 0:25:42 | 0:25:46 | |
but this time he goes to extraordinary lengths. | 0:25:46 | 0:25:49 | |
You think he's stopped speaking? | 0:25:51 | 0:25:54 | |
No, he's still talking while smiling. Look again. | 0:25:54 | 0:25:56 | |
He could give Keith Harris a run for his money with that skill. | 0:26:04 | 0:26:07 | |
In the grim, brutal fearfest Aliens, | 0:26:11 | 0:26:14 | |
Ripley doesn't like hospital food and tries to escape. | 0:26:14 | 0:26:17 | |
But this isn't the first time she's tried it. | 0:26:17 | 0:26:19 | |
Look at those two scuff marks. | 0:26:19 | 0:26:21 | |
Oh, now just one mark. | 0:26:27 | 0:26:28 | |
Go on, Ripley, save the film for continuity's sake! | 0:26:28 | 0:26:31 | |
Both marks are back. Breathe easy, everyone! | 0:26:32 | 0:26:34 | |
Never mind those awful Aliens Vs Predator movies. | 0:26:42 | 0:26:45 | |
This film is a mash-up with the Bionic Man, | 0:26:45 | 0:26:47 | |
as metal mechanical parts can clearly be seen on the alien queen. | 0:26:47 | 0:26:51 | |
Can we rebuild him? Sorry, her. | 0:26:51 | 0:26:54 | |
Once I'm done here, | 0:27:04 | 0:27:05 | |
I must get a sleeping bag for the Star Wars 7 premiere queue. | 0:27:05 | 0:27:08 | |
But I shan't be buying the membranous one | 0:27:10 | 0:27:12 | |
that Ripley got from FutureMillets, | 0:27:12 | 0:27:14 | |
as while she looks snug as a bug tearing out of it, | 0:27:14 | 0:27:16 | |
if you rewind... | 0:27:16 | 0:27:18 | |
..her head and legs are already out. | 0:27:19 | 0:27:21 | |
Alien: Resurrection was a letdown, an absolute joke of a film. | 0:27:22 | 0:27:26 | |
And in this joke film, the props were jokes, too. | 0:27:29 | 0:27:32 | |
See how this barbell solidly catches Ripley in the face? | 0:27:32 | 0:27:35 | |
Well, when Christie swings it about, we can see it's a novelty | 0:27:41 | 0:27:45 | |
rubber barbell that bends all over the place. | 0:27:45 | 0:27:47 | |
We all love a good old classic family film like | 0:27:49 | 0:27:52 | |
Nil By Mouth, Whatever Happened To Baby Jane? or Sophie's Choice. | 0:27:52 | 0:27:56 | |
Turns out that family films in this context means | 0:27:56 | 0:27:59 | |
"films for the whole family to watch". | 0:27:59 | 0:28:01 | |
But that is not what they are. | 0:28:01 | 0:28:02 | |
Aside from a few rare exceptions, family films are for children. | 0:28:02 | 0:28:06 | |
They're not for me, and I'm part of a family, too. | 0:28:06 | 0:28:09 | |
If I wanted to watch a film with my whole family, | 0:28:09 | 0:28:11 | |
it would be Blade Runner, | 0:28:11 | 0:28:12 | |
and I can tell you right now that my two-year-old would hate it. | 0:28:12 | 0:28:15 | |
Particularly if it was the studio cut with the stupid voiceover. | 0:28:15 | 0:28:18 | |
Alvin And The Chipmunks: Chipwrecked, now. | 0:28:19 | 0:28:21 | |
Astoundingly, even worse than the first two. | 0:28:21 | 0:28:24 | |
Now, this is nearly all animation, right? | 0:28:24 | 0:28:26 | |
So they were pointing their cameras only at a man with a magazine. | 0:28:26 | 0:28:31 | |
So you'd have thought someone, surely would notice something. | 0:28:31 | 0:28:34 | |
And they did eventually, but way, way too late. | 0:28:37 | 0:28:40 | |
A film crew practical joke, now. | 0:28:46 | 0:28:48 | |
This time, one of the characters made of drawing and computer | 0:28:48 | 0:28:51 | |
getting punk'd. | 0:28:51 | 0:28:53 | |
" 'Ere, Gustav," said the editor. | 0:28:53 | 0:28:55 | |
"Let's make it look like the chipmunk | 0:28:55 | 0:28:57 | |
"on the dry raft's peed herself." | 0:28:57 | 0:29:00 | |
"Good idea, Ernst," said the sidekick, | 0:29:00 | 0:29:02 | |
and so it comes to pass. Wet all over. | 0:29:02 | 0:29:05 | |
Ah, that hollow sound of the franchise barrel being scraped | 0:29:08 | 0:29:11 | |
means that we join The Smurfs in their awful movie. | 0:29:11 | 0:29:14 | |
Now, New York is excellent for filming, | 0:29:15 | 0:29:17 | |
as they just let you do it. | 0:29:17 | 0:29:19 | |
But you do tend to attract crowds of excited members of the public | 0:29:19 | 0:29:22 | |
watching you film, like here. | 0:29:22 | 0:29:24 | |
Still, if I saw the Smurfs filming, I'd stop to look. | 0:29:25 | 0:29:28 | |
Not the Moomins, though. I'd just keep walking. | 0:29:28 | 0:29:30 | |
Get your hand out of my kilt! | 0:29:30 | 0:29:32 | |
Now this song is played on everything uplifting | 0:29:36 | 0:29:39 | |
that's on TV ever. | 0:29:39 | 0:29:40 | |
Hoppipolla by Sigur Ros, and in this scene from the cloying, | 0:29:40 | 0:29:44 | |
so-called inspiring We Built A Zoo, it's certainly doing the trick. | 0:29:44 | 0:29:47 | |
Because judging by the trees and grass, | 0:29:52 | 0:29:53 | |
it's certainly not wind that's keeping those kites in the air. | 0:29:53 | 0:29:56 | |
Am I doing anything right? | 0:30:01 | 0:30:03 | |
Proof that people who do organized things like taking packed lunches | 0:30:03 | 0:30:06 | |
to work aren't as efficient as they think. | 0:30:06 | 0:30:08 | |
Eight-year-old smugster Rosie's putting her sandwiches into bags | 0:30:10 | 0:30:13 | |
because heaven forfend she just go to Pret or somewhere, | 0:30:13 | 0:30:15 | |
like everyone else. | 0:30:15 | 0:30:16 | |
Good. | 0:30:18 | 0:30:19 | |
But when she pointlessly labels the bags, | 0:30:23 | 0:30:25 | |
the sarnies have leapt back on the worktop. Ha! | 0:30:25 | 0:30:27 | |
Now Scarlett has to lock some lions in a thing | 0:30:34 | 0:30:36 | |
cos they can get a bit bitey at humans. | 0:30:36 | 0:30:39 | |
But the director probably decided that giving her a chain | 0:30:39 | 0:30:42 | |
and an open padlock, as seen here, | 0:30:42 | 0:30:44 | |
was a bit too easy... | 0:30:44 | 0:30:45 | |
The only way to fix it is to jimmy it from the inside. | 0:30:45 | 0:30:48 | |
..because by the next shot, they're gone. | 0:30:50 | 0:30:52 | |
Fans of Panic Room will love to see that unimaginative clunker | 0:30:57 | 0:31:00 | |
Spy Kids: All The Time In The World 4D, features a panic room. | 0:31:00 | 0:31:04 | |
However, logic fans will be less keen. | 0:31:05 | 0:31:07 | |
Look at this fireplace full of, erm, gold, baubly things and fronds. | 0:31:07 | 0:31:11 | |
Almost immediately they've gone! From the world. In 4D. | 0:31:16 | 0:31:20 | |
With so many bits and pieces on a film set, | 0:31:24 | 0:31:27 | |
it's important to keep everything labelled. | 0:31:27 | 0:31:29 | |
Circuit boards, for example. | 0:31:29 | 0:31:31 | |
If you're using one as a prop, | 0:31:32 | 0:31:34 | |
you'll want to make sure everyone knows what it's for. | 0:31:34 | 0:31:37 | |
Besides someone will cover that up before shooting, right? | 0:31:37 | 0:31:39 | |
Wrong! In 4D. | 0:31:41 | 0:31:42 | |
Our next section is Fantasy Films, which is a genre of film involving | 0:31:44 | 0:31:48 | |
parallel worlds, magic wizards, Greek mythology | 0:31:48 | 0:31:51 | |
and all that shiznit. | 0:31:51 | 0:31:53 | |
I know that now, but I only had this explained to me | 0:31:53 | 0:31:55 | |
after I'd been trying to make my own fantasy film. | 0:31:55 | 0:31:58 | |
I had to send back the girls, the boys, the tarpaulin, | 0:31:58 | 0:32:00 | |
the brie and the Dyson Airblade, | 0:32:00 | 0:32:02 | |
and it was all a little embarrassing to say the least. | 0:32:02 | 0:32:05 | |
But then where the hell would I be without embarrassing mistakes? | 0:32:05 | 0:32:09 | |
Talking of which... | 0:32:09 | 0:32:10 | |
Here, a wooden dagger steals the scene | 0:32:16 | 0:32:18 | |
from wooden acting in fantasy action movie Wrath Of The Titans. | 0:32:18 | 0:32:22 | |
Mind you, it does have some magical properties. | 0:32:22 | 0:32:25 | |
Look, it's gone! | 0:32:25 | 0:32:26 | |
I WOODEN have thought they could do that... | 0:32:26 | 0:32:29 | |
I don't know what I'd do when confronted with a one-eyed giant, | 0:32:34 | 0:32:36 | |
but poor Perseus here is so terrified he doesn't know | 0:32:36 | 0:32:39 | |
whether he's coming or going. | 0:32:39 | 0:32:40 | |
As he breaks free from the Cyclops's grasp... | 0:32:43 | 0:32:45 | |
..he ends up facing the wrong direction. | 0:32:48 | 0:32:51 | |
Did you know that they had proper dentists in the olden times? | 0:32:54 | 0:32:57 | |
I certainly didn't until I saw this scene from Wrath Of The Titans. | 0:32:57 | 0:33:01 | |
Watch Agenor as he gives us all a perfect view | 0:33:01 | 0:33:03 | |
of ye olde mythical silver filling of the Gods. | 0:33:03 | 0:33:06 | |
OK, everyone, now, I know there's loads of us, | 0:33:13 | 0:33:15 | |
so it's important we do the same thing in this scene from Immortals. | 0:33:15 | 0:33:19 | |
Just remember, swords in the left hand, shields in the right. | 0:33:19 | 0:33:22 | |
So when we shoot the scene from the front, don't forget that. | 0:33:22 | 0:33:25 | |
Oh. | 0:33:28 | 0:33:29 | |
Well, it's a dull epic, no-one will care. | 0:33:29 | 0:33:32 | |
Time now for another quick round of Metil Or Normil. | 0:33:44 | 0:33:47 | |
This breastplate certainly looks like metil. Well, a bit like metil. | 0:33:47 | 0:33:51 | |
Actually, I think it's normil, looks like rubber to me. | 0:33:51 | 0:33:55 | |
We'll have to wait till he takes it off. | 0:33:55 | 0:33:57 | |
Yes, look, I was right. | 0:34:00 | 0:34:01 | |
Definitely normil. | 0:34:01 | 0:34:03 | |
In this show, I have to record over 200 links. | 0:34:09 | 0:34:12 | |
That's a set number of links, unlike those in this chain | 0:34:12 | 0:34:15 | |
from cheesily fun John Carter. | 0:34:15 | 0:34:17 | |
It's too short for him to escape the ape... | 0:34:19 | 0:34:21 | |
..but then it's long enough to wrap round the ape like a billion times. | 0:34:23 | 0:34:27 | |
Mum, Mum, guess what? I've got a job as a sound-effects man | 0:34:35 | 0:34:38 | |
on this big, colourful film about Snow White! | 0:34:38 | 0:34:41 | |
We've got loads of well hench sound effects. | 0:34:41 | 0:34:43 | |
There's one of two axes touching that I really love, | 0:34:45 | 0:34:48 | |
I'm about to use it now. | 0:34:48 | 0:34:49 | |
METALLIC RUBBING | 0:34:49 | 0:34:51 | |
Oh, they didn't touch. Never mind, I'll use it anyway! | 0:34:51 | 0:34:53 | |
Mirror, mirror on the wall, Who's the sneakiest prince of all? | 0:34:59 | 0:35:04 | |
This one, saying farewell to Snow White, | 0:35:04 | 0:35:06 | |
cos he was on Charles's left and he's now on Charles's right. | 0:35:06 | 0:35:09 | |
Snow White films are like London buses. You wait years, | 0:35:14 | 0:35:16 | |
and then two underwhelming ones turn up at the same time. | 0:35:16 | 0:35:19 | |
This is the one that isn't the other one, and we're talking horse. | 0:35:19 | 0:35:22 | |
I love horses, best of all the animals, | 0:35:22 | 0:35:25 | |
but I can't stand a horse with mucky legs, which is why this scene | 0:35:25 | 0:35:28 | |
at first appals and then soothes me. | 0:35:28 | 0:35:31 | |
Dirty horse. | 0:35:34 | 0:35:35 | |
Clean horse. | 0:35:38 | 0:35:39 | |
Now, spoiler alert, everyone! | 0:35:43 | 0:35:45 | |
So, the closing scene comes to a close and everyone has got closure. | 0:35:45 | 0:35:49 | |
And as we pull out of the throne room, | 0:35:49 | 0:35:51 | |
the doors swing closed to emphasise the closing of the story. | 0:35:51 | 0:35:55 | |
But if we rewind just a couple of moments, you'll see that throughout | 0:35:56 | 0:35:59 | |
the coronation, those closing doors were already very much closed. | 0:35:59 | 0:36:04 | |
The British film industry is much like the American film industry, | 0:36:06 | 0:36:10 | |
except they make some. | 0:36:10 | 0:36:12 | |
I'm joking, of course. The UK Film Council generated | 0:36:12 | 0:36:15 | |
so much successful film-making that the government destroyed it. | 0:36:15 | 0:36:18 | |
Making a British film is much like the plot of a British film. | 0:36:18 | 0:36:21 | |
A plucky underdog, charming and stammering, | 0:36:21 | 0:36:24 | |
like Hugh Grant or Colin Firth, delete as applicable, | 0:36:24 | 0:36:27 | |
achieves some success | 0:36:27 | 0:36:28 | |
after overcoming some moderate obstacles, usually in the rain. | 0:36:28 | 0:36:32 | |
Contains mild peril, possibly that Toploader song, | 0:36:32 | 0:36:35 | |
and a fair few mistakes. | 0:36:35 | 0:36:36 | |
Madcap, not-very-funny spy caper Johnny English Reborn now, | 0:36:37 | 0:36:41 | |
and if the whole point of this scene is whether the switch is on or off, | 0:36:41 | 0:36:44 | |
you'd think they'd pay close attention to it. | 0:36:44 | 0:36:47 | |
But, no. Here it's switched off, | 0:36:47 | 0:36:50 | |
then this lady takes her dress off... | 0:36:50 | 0:36:51 | |
Do you know how to turn it on? | 0:36:51 | 0:36:53 | |
..and then next thing you know it's back on. | 0:36:53 | 0:36:55 | |
Maybe the continuity guy got distracted? | 0:36:56 | 0:36:58 | |
Glenn Close as footballer Lee Dixon here, counting his tips. | 0:37:01 | 0:37:06 | |
it's three coins on the bed. | 0:37:06 | 0:37:07 | |
This is Albert Nobbs, | 0:37:07 | 0:37:08 | |
a haunting and bittersweet film with an amusing name. | 0:37:08 | 0:37:11 | |
Now look at the coins. There's loads more. | 0:37:13 | 0:37:16 | |
It's a Christmas miracle! | 0:37:16 | 0:37:17 | |
The Best Exotic Marigold Hotel was refreshingly upbeat | 0:37:20 | 0:37:24 | |
for a Brit flick, with some good performances, | 0:37:24 | 0:37:26 | |
but while Tom Wilkinson's being all emotional, | 0:37:26 | 0:37:28 | |
Dame Judi's not listening. | 0:37:28 | 0:37:31 | |
She's going through her photos. | 0:37:31 | 0:37:34 | |
You see those pics? Rewind earlier and they weren't there. | 0:37:34 | 0:37:37 | |
I reckon the next cutaway will have her doing a Sudoku. | 0:37:39 | 0:37:43 | |
A tremendous display now from the conjuror Celia Imrie. | 0:37:48 | 0:37:51 | |
It's the old "put the note in the pocket, fail to push it in, | 0:37:51 | 0:37:54 | |
"have it Photoshopped out" routine. | 0:37:54 | 0:37:55 | |
Let's see that again in slow motion | 0:37:57 | 0:37:59 | |
so we can wonder at Celia's deft handiwork. | 0:37:59 | 0:38:01 | |
And, thrifty old pro that she is, she makes sure to reappear it | 0:38:04 | 0:38:07 | |
later on, so she can snatch it back. | 0:38:07 | 0:38:09 | |
Daniel Radcliffe gets confused when decorating | 0:38:14 | 0:38:16 | |
in the pant-wettingly scary The Woman In Black. | 0:38:16 | 0:38:18 | |
He's using an axe to strip the wallpaper, | 0:38:20 | 0:38:22 | |
surely something like a scraper would be better? | 0:38:22 | 0:38:25 | |
Later, common sense of sorts prevails as he uses his bare hands. | 0:38:26 | 0:38:30 | |
But then he's back with the axe again | 0:38:34 | 0:38:36 | |
without so much as a bending down. | 0:38:36 | 0:38:38 | |
Someone get that boy a rawl plug. | 0:38:38 | 0:38:40 | |
What can only be censorship here. Listen and watch. | 0:38:43 | 0:38:46 | |
I don't expect to be finished until Friday at least. | 0:38:46 | 0:38:49 | |
Now, Daniel Radcliffe's mouth keeps moving at the end. | 0:38:50 | 0:38:53 | |
What offensive line did he say? | 0:38:53 | 0:38:55 | |
Well, I can exclusively reveal that he really said | 0:38:58 | 0:39:01 | |
"I don't expect to be finished until Friday at least, wubbawubbawubba". | 0:39:01 | 0:39:05 | |
If there's one thing we, the guys at Great Movie Mistakes IV hate, | 0:39:07 | 0:39:11 | |
it's an unnecessary sequel. | 0:39:11 | 0:39:13 | |
As you may recall me saying | 0:39:13 | 0:39:14 | |
way back in Great Movie Mistakes II and III. | 0:39:14 | 0:39:17 | |
But the good thing about sequels is that they give gainful employment | 0:39:17 | 0:39:20 | |
to a lot of Roman numerals that would otherwise | 0:39:20 | 0:39:22 | |
be claiming Jobseeker's Allowance. | 0:39:22 | 0:39:24 | |
It's really just sequels and clock faces keeping them going. | 0:39:24 | 0:39:27 | |
Journey 2, you are letting the side down. | 0:39:27 | 0:39:30 | |
By the way, it's time that someone said this on television, | 0:39:30 | 0:39:32 | |
there is no such word as "quadrilogy". | 0:39:32 | 0:39:35 | |
The word is "tetralogy", and last time I checked, | 0:39:35 | 0:39:37 | |
it was functioning perfectly well, thank you. | 0:39:37 | 0:39:40 | |
You know that game kids play where there's a tray, | 0:39:41 | 0:39:44 | |
and one thing gets removed, and you have to spot what it is? | 0:39:44 | 0:39:47 | |
Well, brainless action flick Mission Impossible Ghost Protocol | 0:39:47 | 0:39:50 | |
incorporated that game in the film. | 0:39:50 | 0:39:52 | |
So, watch carefully. | 0:39:52 | 0:39:53 | |
This wasn't a rescue mission? | 0:39:53 | 0:39:55 | |
Let me put it this way. | 0:39:55 | 0:39:57 | |
If the secretary wanted me out of there, | 0:39:57 | 0:40:00 | |
it must be pretty bad out here. | 0:40:00 | 0:40:01 | |
Now, what's gone? No? | 0:40:02 | 0:40:04 | |
That's right. It was that silver thing. | 0:40:07 | 0:40:09 | |
Our next Mission Impossible game is called | 0:40:09 | 0:40:11 | |
"What is that silver thing?" | 0:40:11 | 0:40:13 | |
Now it's the big-hearted Muppets movie, | 0:40:16 | 0:40:18 | |
and isn't Amy Adams just lovely? | 0:40:18 | 0:40:20 | |
She's so perky she's even brought partial life to these dead flowers. | 0:40:22 | 0:40:25 | |
It's OK, they're really sweet. | 0:40:25 | 0:40:27 | |
You don't mind that he's coming, right? | 0:40:27 | 0:40:30 | |
But not for long. | 0:40:30 | 0:40:31 | |
Some Muppets are tricky to work with. | 0:40:33 | 0:40:36 | |
Sam the Bald American Eagle, for example, is hugely xenophobic. | 0:40:36 | 0:40:40 | |
It's way too far. | 0:40:40 | 0:40:41 | |
That's why in this scene, when a bunch of them | 0:40:41 | 0:40:43 | |
travel to France by map... | 0:40:43 | 0:40:45 | |
..he's bailed out by the time they reach Gallic shores. | 0:40:48 | 0:40:51 | |
ALL: To Paris! | 0:40:54 | 0:40:55 | |
It's a well-known fact that nobody speaks German, | 0:40:57 | 0:41:01 | |
which is why the team behind this middling reboot of Sherlock Holmes | 0:41:01 | 0:41:04 | |
could get away with this little prank. | 0:41:04 | 0:41:06 | |
The subtitle says "Time to introduce Little Hansel." | 0:41:09 | 0:41:12 | |
What he actually said translates as... | 0:41:14 | 0:41:17 | |
This next mistake is mainly here to have a pop at the dreadful | 0:41:24 | 0:41:26 | |
Twilight series. | 0:41:26 | 0:41:28 | |
Look at Bella's hands as she hides her morning sickness from Edward. | 0:41:28 | 0:41:32 | |
She closes the seat with her right hand, | 0:41:32 | 0:41:35 | |
then she's immediately putting all her weight on it with her left. | 0:41:35 | 0:41:38 | |
Possible, but athletic. | 0:41:38 | 0:41:40 | |
Ah, what a lovely couple. | 0:41:44 | 0:41:46 | |
There they are wearing wedding bands, | 0:41:46 | 0:41:48 | |
because Stephenie Meyer wants girls to know that even | 0:41:48 | 0:41:50 | |
if it's a vampire you're sleeping with, you should get married first. | 0:41:50 | 0:41:53 | |
But the moment they're out of the cab, no more rings. | 0:41:55 | 0:41:58 | |
Art predicting life there. | 0:41:58 | 0:41:59 | |
Tongue-in-cheek and amusing, MIB III is a mind-bending time-travel movie, | 0:42:03 | 0:42:08 | |
most obviously in this scene from New York, 1969. | 0:42:08 | 0:42:12 | |
See those pinball machines? | 0:42:12 | 0:42:13 | |
Pinball was banned in the Big Apple until 1976, as we all know. | 0:42:15 | 0:42:19 | |
And once again, the credibility of an alien-filled, | 0:42:19 | 0:42:21 | |
conspiracy-inspired, dimension-hopping movie is ruined. | 0:42:21 | 0:42:24 | |
Think your hoop's a little off. Want me to clean her? | 0:42:24 | 0:42:27 | |
More time travel now, | 0:42:30 | 0:42:32 | |
as the guys seem to be stuck in a chronic hysterisis. | 0:42:32 | 0:42:34 | |
That's a time loop, to you and me. | 0:42:34 | 0:42:36 | |
See this van? | 0:42:37 | 0:42:39 | |
It's the same van we saw seconds ago. | 0:42:39 | 0:42:41 | |
Happily, they escape, | 0:42:41 | 0:42:42 | |
so the fourth film won't be two hours of more of the same. | 0:42:42 | 0:42:45 | |
Oooh! Another one! | 0:42:50 | 0:42:51 | |
There's also some extraordinary errors in the older MIB films. | 0:42:53 | 0:42:57 | |
In the funny and entertaining original, we see that to be | 0:42:57 | 0:43:00 | |
a Man In Black, you need intelligence, bravery | 0:43:00 | 0:43:02 | |
and secretarial skills. | 0:43:02 | 0:43:04 | |
Being a defender of the galaxy means Agent K types so quickly | 0:43:05 | 0:43:08 | |
his fingers don't even touch the keyboard. | 0:43:08 | 0:43:11 | |
Either that or he's tickling an invisible kitten. | 0:43:11 | 0:43:13 | |
Men In Black II is a disappointing letdown, | 0:43:17 | 0:43:20 | |
featuring as it does Agent K emptying his guns | 0:43:20 | 0:43:22 | |
at a giant rubbish bin. | 0:43:22 | 0:43:23 | |
Mind you, it's a bit fortunate. | 0:43:36 | 0:43:38 | |
Watch as he drops the guns on the floor, | 0:43:38 | 0:43:40 | |
only for them to be removed in the next shot. | 0:43:40 | 0:43:43 | |
Why can't my binmen be that efficient? | 0:43:43 | 0:43:45 | |
You know our arrangements, Jeff. | 0:43:50 | 0:43:52 | |
You don't travel outside of the E, F and R subway lines... | 0:43:52 | 0:43:54 | |
Actors, eh? Always desperate to show off their improv. | 0:43:54 | 0:43:57 | |
Here, the actor playing Agent T demonstrates his miming skills | 0:43:58 | 0:44:02 | |
as he wrestles with an invisible weed. | 0:44:02 | 0:44:05 | |
Oops, someone forgot the CGI. | 0:44:05 | 0:44:07 | |
Next thing you know, he'll be battling his way | 0:44:07 | 0:44:09 | |
out of a pretend box and descending an imaginary staircase. | 0:44:09 | 0:44:12 | |
Films often play fast and loose with the laws of the universe. | 0:44:14 | 0:44:17 | |
They try and make us believe all kinds of things are possible. | 0:44:17 | 0:44:20 | |
Like noise in the vacuum of space, | 0:44:20 | 0:44:22 | |
surviving a nuclear blast by hiding in a fridge, | 0:44:22 | 0:44:24 | |
or that people will laugh at a film with Rob Schneider in it. | 0:44:24 | 0:44:28 | |
So, yes, impossible things. | 0:44:28 | 0:44:29 | |
To be fair, some impossible film things are really cool. | 0:44:29 | 0:44:32 | |
I mean, I believed for ages I could move things | 0:44:32 | 0:44:35 | |
with the power of my mind. Still do, a bit. | 0:44:35 | 0:44:38 | |
Doh! | 0:44:41 | 0:44:42 | |
Cool. | 0:44:52 | 0:44:55 | |
In the waste of time that's In Time, | 0:44:55 | 0:44:57 | |
we see a far too successful booby trap. | 0:44:57 | 0:45:00 | |
Stingers - strips of nails left on the road to puncture tyres - are | 0:45:00 | 0:45:03 | |
used by the police to bring naughty vehicles to a controlled halt. | 0:45:03 | 0:45:07 | |
However, when this former Mouseketeer drives over one, | 0:45:07 | 0:45:11 | |
his car has a massive hissy fit and tumbles over a cliff, | 0:45:11 | 0:45:14 | |
temporarily vaporising its passengers | 0:45:14 | 0:45:18 | |
before they reappear at the bottom. | 0:45:18 | 0:45:20 | |
Iron Sky now. A film which comprehensively | 0:45:23 | 0:45:26 | |
fails its Baccalaureate in Science, which of course means it gets | 0:45:26 | 0:45:29 | |
an A star in the totally made-up world of movie science. | 0:45:29 | 0:45:33 | |
Why don't you narrate along with me as we play | 0:45:33 | 0:45:35 | |
Things That Things Don't Do In The Vacuum Of Space. | 0:45:35 | 0:45:38 | |
Firstly, we hear the sound of the ship separating, | 0:45:41 | 0:45:44 | |
a massive blunder because - all together now - | 0:45:44 | 0:45:46 | |
there's no sound in a vacuum. | 0:45:46 | 0:45:48 | |
Then we see fires burning on the destroyed ship. | 0:45:50 | 0:45:53 | |
One, two, three - fires don't burn in a vacuum. | 0:45:53 | 0:45:56 | |
And as these banners unfurl, we can be pretty sure | 0:45:59 | 0:46:02 | |
they wouldn't do this, as there's no air in a vacuum either. | 0:46:02 | 0:46:06 | |
Rookie mistake - even I didn't fall into that trap when I made | 0:46:06 | 0:46:10 | |
that fake moon-landing footage I'm not allowed to talk about. | 0:46:10 | 0:46:13 | |
In the insultingly bad Journey 2, these people are riding | 0:46:15 | 0:46:18 | |
on giant bees, and I for one don't believe a frame of it. | 0:46:18 | 0:46:22 | |
There's no way on earth anyone would cast that wrestler in a film. | 0:46:22 | 0:46:26 | |
Anyway, the birds chasing them are apparently... | 0:46:26 | 0:46:29 | |
That's a white-throated needletail. | 0:46:29 | 0:46:31 | |
..when in fact it's quite clear | 0:46:31 | 0:46:33 | |
that they're white-fronted bee-eaters. | 0:46:33 | 0:46:36 | |
I know that because I'm a dedicated twitcher. | 0:46:36 | 0:46:38 | |
Although the tablets are helping. | 0:46:38 | 0:46:40 | |
When giving a presentation, | 0:46:45 | 0:46:47 | |
the cardinal sin is not to walk through the beam, | 0:46:47 | 0:46:50 | |
otherwise all your PowerPoint stuff will get shadows on it. | 0:46:50 | 0:46:53 | |
You might want to splash out on the projector from the nostalgia-steeped | 0:46:55 | 0:46:58 | |
Super 8, however, as the kids sit right in the beam | 0:46:58 | 0:47:01 | |
without casting any shadow. | 0:47:01 | 0:47:03 | |
Luckily, in this shot, the kids have vanished anyway. | 0:47:03 | 0:47:06 | |
-What's up? -Noah! | 0:47:09 | 0:47:11 | |
There aren't enough whistling kettles in films. | 0:47:11 | 0:47:13 | |
The sad reason for this is that | 0:47:13 | 0:47:15 | |
they are fiendishly scientifically complicated items. | 0:47:15 | 0:47:18 | |
For example, if the spout is open, they won't whistle, | 0:47:19 | 0:47:22 | |
a fact which is apparently news | 0:47:22 | 0:47:23 | |
to the makers of fat-boy laugh-drought The Sitter. | 0:47:23 | 0:47:26 | |
Sack the spout-wrangler. | 0:47:26 | 0:47:28 | |
Solid Gold. Do you have any idea what that's worth? | 0:47:29 | 0:47:32 | |
Matthew Broderick may be generally ace, | 0:47:32 | 0:47:35 | |
but he doesn't know Jack Bueller about the weight of cars. | 0:47:35 | 0:47:38 | |
He reckons a solid gold car would weigh about... | 0:47:38 | 0:47:41 | |
Must weigh 2,000lbs. | 0:47:41 | 0:47:42 | |
..but in reality they weigh something like a couple of tons | 0:47:42 | 0:47:45 | |
and you certainly wouldn't be able to fling them about the way they do | 0:47:45 | 0:47:48 | |
in brainless caper Tower Heist. | 0:47:48 | 0:47:51 | |
I should know, I've got four of them. | 0:47:51 | 0:47:53 | |
They give me one every time I do this show. | 0:47:53 | 0:47:55 | |
Any more and I'll have to move a couple onto the helipad. | 0:47:55 | 0:47:59 | |
Hello? | 0:47:59 | 0:48:00 | |
Is anybody here? | 0:48:02 | 0:48:04 | |
Hello? | 0:48:04 | 0:48:06 | |
I'm here to make Great Movie Mistakes. | 0:48:06 | 0:48:09 | |
Hello? | 0:48:09 | 0:48:10 | |
DEEP, RUMBLING VOICE: Great Movie Mistakes. | 0:48:12 | 0:48:14 | |
I haven't heard those words in ten year or more. | 0:48:14 | 0:48:17 | |
What? Who's there? Who said that? | 0:48:19 | 0:48:22 | |
I said that. | 0:48:22 | 0:48:24 | |
They haven't made Great Movie Mistakes in nigh on ten years. | 0:48:24 | 0:48:29 | |
Not since that Robert Webb died so horribly and painfully. | 0:48:29 | 0:48:33 | |
But that's ridiculous. I'm Robert Webb, and I... | 0:48:33 | 0:48:36 | |
Horror Films. CREEPY LAUGH | 0:48:41 | 0:48:46 | |
Gruesome, mind-bending horror in The Cabin In The Woods now. | 0:48:48 | 0:48:51 | |
Doors in spooky houses have a mind of their own, | 0:48:52 | 0:48:55 | |
but this one's indecisive. | 0:48:55 | 0:48:57 | |
Here Dana leaves it open | 0:48:57 | 0:49:00 | |
but now it's closed. | 0:49:00 | 0:49:03 | |
However, in just a few seconds it's open again to let the gang in. | 0:49:06 | 0:49:10 | |
Honestly, if they just fitted creepy houses with automatic doors | 0:49:10 | 0:49:14 | |
it'd save all sorts of bother. | 0:49:14 | 0:49:16 | |
A flipped shot moment in the intelligence-insulting Piranha 3DD. | 0:49:19 | 0:49:23 | |
Not just any old flipped shot - | 0:49:23 | 0:49:25 | |
it's one with the Hoff. | 0:49:25 | 0:49:27 | |
Unless this badge is supposed to be in mirror writing. Poor show! | 0:49:27 | 0:49:31 | |
You don't hire the Hoff and then make him look stupid. | 0:49:31 | 0:49:34 | |
Insert punch line here. | 0:49:34 | 0:49:36 | |
David? That's pretty cool. That's my name too. Here you go. | 0:49:36 | 0:49:41 | |
Lacklustre and seriously flawed chiller Silent House now. | 0:49:43 | 0:49:48 | |
Like the 1920s version of the Hugh Laurie TV hit. | 0:49:48 | 0:49:52 | |
In this scene, we're asked to believe that what we're watching is | 0:49:52 | 0:49:55 | |
one continuous shot. | 0:49:55 | 0:49:58 | |
But that doesn't explain why the patterns of blood | 0:50:00 | 0:50:03 | |
on Elizabeth Olsen's clothes and face keep changing. | 0:50:03 | 0:50:06 | |
Maybe it's lupus. It's never lupus. | 0:50:10 | 0:50:12 | |
Underworld: Awakening? | 0:50:16 | 0:50:18 | |
Underworld: Snooze Button, more like! | 0:50:18 | 0:50:20 | |
Awful film, but it features an amazing catsuit. | 0:50:20 | 0:50:23 | |
Not only can you wear it in heels... | 0:50:25 | 0:50:27 | |
..and then seconds later wear it in flats... | 0:50:29 | 0:50:34 | |
you can also hide a blooming great hand grenade | 0:50:34 | 0:50:36 | |
in it without breaking the skin-tight lines in the slightest. | 0:50:36 | 0:50:39 | |
Now look at the problem with the CCTV here. | 0:50:45 | 0:50:48 | |
Security cameras are in fixed positions, | 0:50:48 | 0:50:51 | |
they can't follow trolleys down corridors, can they? | 0:50:51 | 0:50:54 | |
Well, this impossible camera seems to be playing Race You To The End. | 0:50:58 | 0:51:02 | |
Unimaginative, uninspired gore shocks | 0:51:06 | 0:51:08 | |
from Final Destination 5 now. | 0:51:08 | 0:51:10 | |
The extras here are playing fast and loose with | 0:51:11 | 0:51:13 | |
the laws of public transport as this woman exits the bus more than once. | 0:51:13 | 0:51:17 | |
And the driver can't decide whether he's standing up... | 0:51:23 | 0:51:26 | |
..or sitting down. | 0:51:28 | 0:51:30 | |
He may just be all out of sorts because, you know, all the terror. | 0:51:30 | 0:51:33 | |
To Death-town! | 0:51:33 | 0:51:34 | |
What would be your nominations for Best Picture? | 0:51:36 | 0:51:39 | |
Mine would be the Mona Lisa, that Klimt one everyone's got, | 0:51:39 | 0:51:42 | |
and this picture of me on the beach where I'm sucking it in. | 0:51:42 | 0:51:46 | |
Delightful whimsy aside, what we're really talking about is the Oscars. | 0:51:46 | 0:51:49 | |
Luckily the Academy Awards are there to let you know exactly what | 0:51:49 | 0:51:53 | |
films are more or less perfectly brilliant, | 0:51:53 | 0:51:55 | |
like Avatar or Titanic. | 0:51:55 | 0:51:56 | |
Sorry, that sounds like I'm having a pop at James Cameron. | 0:51:56 | 0:52:00 | |
I'm really not. I'm just having a pop at his films. | 0:52:00 | 0:52:04 | |
Anyway, award-winning films are | 0:52:04 | 0:52:05 | |
just as capable of making careless mistakes as any other film. | 0:52:05 | 0:52:08 | |
That's rather comforting to know, isn't it? | 0:52:08 | 0:52:10 | |
Like reminding yourself that the Queen also goes to the lav. | 0:52:10 | 0:52:14 | |
It's Spielberg's epic adaptation of the National Theatre's epic | 0:52:14 | 0:52:18 | |
adaptation of Michael Morpurgo's epic adaptation | 0:52:18 | 0:52:21 | |
of the First World War, War Horse, which touched hearts worldwide. | 0:52:21 | 0:52:24 | |
And if that's not enough - they got the continuity wrong with an apple. | 0:52:26 | 0:52:30 | |
Look, whole apple... | 0:52:30 | 0:52:31 | |
..apple with a big bite out of it, | 0:52:35 | 0:52:37 | |
that wasn't there at the start of this clip. | 0:52:37 | 0:52:40 | |
Who did that? A ghost horse, maybe? | 0:52:40 | 0:52:43 | |
And now, nudity. In fact, horse nudity! | 0:52:49 | 0:52:53 | |
Albert knows everything about horses | 0:52:53 | 0:52:55 | |
and all their horse stuff. | 0:52:55 | 0:52:56 | |
See, you've got it. You've got it. | 0:52:58 | 0:53:02 | |
But clearly not how to put a horse's clothes on. | 0:53:02 | 0:53:05 | |
The collar's upside down. | 0:53:05 | 0:53:07 | |
Either that or the horse is upside down. | 0:53:07 | 0:53:10 | |
And now this German soldier's doing it. In a film about horses. | 0:53:10 | 0:53:14 | |
Spielberg should have stuck with sharks. | 0:53:16 | 0:53:18 | |
Well, well, look at you. | 0:53:18 | 0:53:21 | |
This is the touching and heartfelt Extremely Loud & Incredibly Close. | 0:53:23 | 0:53:26 | |
Oskar here has found a note left by his late father, Tom Hanks, | 0:53:27 | 0:53:31 | |
who reads it out in his head like normal. | 0:53:31 | 0:53:33 | |
Congratulations, Oskar. With unbelievable bravery and wisdom far | 0:53:33 | 0:53:38 | |
beyond your years you have solved reconnaissance expedition number six. | 0:53:38 | 0:53:42 | |
But ghost dad Tom has done some posthumous editing | 0:53:44 | 0:53:46 | |
as his words are very different to what the note says. | 0:53:46 | 0:53:49 | |
Wherever they now are, the people of the sixth borough celebrate you. | 0:53:49 | 0:53:55 | |
Extremely Loud & Incredibly Wrong. | 0:53:55 | 0:53:57 | |
Now it's time to go home. | 0:53:57 | 0:53:58 | |
Now the joyful, beguiling The Artist, which, like all | 0:54:03 | 0:54:06 | |
Adam Sandler films, proves films | 0:54:06 | 0:54:08 | |
can be better if no-one talks throughout them. | 0:54:08 | 0:54:10 | |
Here Peppy Miller puts her bag on the floor, but cut to the wide... | 0:54:12 | 0:54:15 | |
The floor has eaten it. | 0:54:17 | 0:54:20 | |
Oh, thank God. It spat it out again. | 0:54:22 | 0:54:25 | |
It's like when that swamp dragon ate R2D2 all over again, but arty. | 0:54:25 | 0:54:29 | |
Notebooks - they cause so much fuss. | 0:54:34 | 0:54:36 | |
Here Peppy drops hers | 0:54:36 | 0:54:38 | |
in the clamouring throng to see movie star George, | 0:54:38 | 0:54:41 | |
but as she picks it up, she's right next to him. | 0:54:41 | 0:54:44 | |
Thanks, notebook! | 0:54:44 | 0:54:45 | |
However, look! The notebook's disappeared! | 0:54:45 | 0:54:49 | |
That's gratitude for you. But once the notebook has had a word with | 0:54:49 | 0:54:53 | |
its agent, it's back in the movie. | 0:54:53 | 0:54:55 | |
Showbiz - such a fickle mistress. | 0:54:55 | 0:54:58 | |
Normally this show has microphones creeping into shot, | 0:55:04 | 0:55:07 | |
but here it's the opposite. | 0:55:07 | 0:55:09 | |
There's the mic in shot. | 0:55:09 | 0:55:10 | |
But then, boom, it's gone! | 0:55:14 | 0:55:16 | |
I don't mean "boom" like the microphone, I mean... | 0:55:16 | 0:55:19 | |
Oh, you know what I mean. Luckily it comes right back. | 0:55:19 | 0:55:22 | |
Who'd have thought a microphone | 0:55:22 | 0:55:24 | |
would be so troublesome in a silent movie? | 0:55:24 | 0:55:26 | |
-More? -Yeah, just a little bit more. | 0:55:31 | 0:55:33 | |
Don't tell your mother. | 0:55:33 | 0:55:35 | |
Moneyball now, | 0:55:35 | 0:55:36 | |
a quality crowd-pleaser about an American rounders team. Amazing! | 0:55:36 | 0:55:40 | |
Here, Brad Pitt asks his daughter... | 0:55:40 | 0:55:43 | |
Big spoon or little spoon? | 0:55:43 | 0:55:45 | |
Little spoon. | 0:55:45 | 0:55:47 | |
But then we see the little tyke clearly eating with a big spoon. | 0:55:48 | 0:55:52 | |
Unless that really is the little spoon, | 0:55:52 | 0:55:54 | |
and Brad Pitt's big spoon is actually a wok. | 0:55:54 | 0:55:57 | |
Here Brad Pitt's cross with his rounders players. | 0:55:59 | 0:56:03 | |
As he enters the dressing room or whatever it's called, | 0:56:03 | 0:56:05 | |
Jeremy Giambi is dancing away. | 0:56:05 | 0:56:07 | |
In the reverse shots, a white towel swings freely between his legs. | 0:56:13 | 0:56:17 | |
From the front... | 0:56:17 | 0:56:19 | |
not a sausage. | 0:56:19 | 0:56:20 | |
Is losing fun? | 0:56:20 | 0:56:22 | |
Another film about a small boy and a dead father, | 0:56:25 | 0:56:28 | |
this time with robots, | 0:56:28 | 0:56:29 | |
Martin Scorsese's escapist, exhilarating, magical Hugo. | 0:56:29 | 0:56:34 | |
Where's the station inspector? | 0:56:34 | 0:56:36 | |
Ben Kingsley enjoys a bit of notebook-based hocus-pocus | 0:56:36 | 0:56:39 | |
with disappearing, reappearing rubber band. | 0:56:39 | 0:56:42 | |
First it's on the notebook... | 0:56:42 | 0:56:44 | |
..then it isn't, then it is... | 0:56:47 | 0:56:50 | |
..then it isn't. | 0:56:52 | 0:56:53 | |
To be honest, it's behaving pretty much like any rubber band. | 0:56:53 | 0:56:56 | |
Not there when you need it. | 0:56:56 | 0:56:59 | |
Here Hugo is performing a bog-standard card trick. | 0:57:05 | 0:57:08 | |
Not so impressive, right? | 0:57:08 | 0:57:10 | |
Wrong, magic fans. | 0:57:10 | 0:57:11 | |
Not only does Hugo guess the right card, but he also manages | 0:57:11 | 0:57:15 | |
to turn his right hand | 0:57:15 | 0:57:17 | |
into his left hand. He's a true pro. | 0:57:17 | 0:57:19 | |
Oh, hi there. You probably thought this was footage of me | 0:57:22 | 0:57:25 | |
attending a soiree with my showbiz pals | 0:57:25 | 0:57:28 | |
at the Groucho's or the Nando's. | 0:57:28 | 0:57:30 | |
In fact, these people here are supporting, or background artists. | 0:57:30 | 0:57:34 | |
They are only pretending to be my friends, | 0:57:34 | 0:57:36 | |
and have been paid to do so. | 0:57:36 | 0:57:38 | |
Which is different from my actual friends because... | 0:57:38 | 0:57:42 | |
Because... | 0:57:42 | 0:57:43 | |
Roll the VT. | 0:57:45 | 0:57:47 | |
General Patton has said... | 0:57:47 | 0:57:49 | |
Now the soulless superhero flick Captain America, | 0:57:49 | 0:57:52 | |
and it will shock you to discover that these aren't real soldiers | 0:57:52 | 0:57:55 | |
but actual background artists. | 0:57:55 | 0:57:58 | |
You can tell because here they walk behind Captain Phillips | 0:57:58 | 0:58:01 | |
but in the very next shot | 0:58:01 | 0:58:03 | |
they are marching again back where they started. | 0:58:03 | 0:58:06 | |
Our boys wouldn't do that. | 0:58:06 | 0:58:08 | |
Now James Bond with curtains is haunted by skellingtons or something | 0:58:11 | 0:58:15 | |
in the confused yet predictable Dream House. | 0:58:15 | 0:58:18 | |
Here he is haunted by a terrifying doppelganger couple | 0:58:18 | 0:58:20 | |
as these two, note the stylish but practical red boots on the lady, | 0:58:20 | 0:58:24 | |
walk down the pavement and then when Daniel Craig David | 0:58:24 | 0:58:27 | |
leaves the cafe a few moments later... | 0:58:27 | 0:58:29 | |
Bingo! The identical couple are still walking towards them | 0:58:30 | 0:58:34 | |
in the same direction. | 0:58:34 | 0:58:35 | |
Of course, they could have stopped and had a row. We just don't know. | 0:58:35 | 0:58:41 | |
In this daft but fun scene from The Muppets, | 0:58:41 | 0:58:44 | |
keep watching the anger therapy patients fighting. | 0:58:44 | 0:58:47 | |
One of them's not up to scratch with his brawling. | 0:58:47 | 0:58:50 | |
Thursday's another one of my trigger words! | 0:58:50 | 0:58:52 | |
You'll see the tall man with white hair | 0:58:52 | 0:58:54 | |
is clearly not hitting anything... | 0:58:54 | 0:58:57 | |
..as his punch misses by at least one foot. | 0:58:58 | 0:59:00 | |
Yet, we hear the punch and the other man falls down. | 0:59:02 | 0:59:07 | |
Also that's not a real animal. | 0:59:07 | 0:59:09 | |
Animal! | 0:59:09 | 0:59:10 | |
Not at night. | 0:59:12 | 0:59:13 | |
We Bought A Zoo was over-sensitive and syrupy, | 0:59:14 | 0:59:17 | |
but it's slightly better than the prequel | 0:59:17 | 0:59:19 | |
I Rented A Newsagent-Cum-Off-Licence. | 0:59:19 | 0:59:22 | |
Off-camera string-pulling is visible here | 0:59:22 | 0:59:24 | |
when two extras are waiting for their cue to walk forward, | 0:59:24 | 0:59:27 | |
which they start to do after a couple of seconds. | 0:59:27 | 0:59:30 | |
And action. Nice. | 0:59:32 | 0:59:34 | |
Guys, it's the other zoo film - it's Zookeeper! | 0:59:38 | 0:59:41 | |
Guys? | 0:59:41 | 0:59:42 | |
Here Griffin cycles past a man sat on a bench | 0:59:44 | 0:59:47 | |
wearing a blue blazer and cream trousers. | 0:59:47 | 0:59:49 | |
Then later, from Griffin's POV, we see he's about to cycle past | 0:59:53 | 0:59:57 | |
a woman in a light shirt and blue jeans | 0:59:57 | 0:59:59 | |
and a man in a straw-coloured hat. | 0:59:59 | 1:00:00 | |
But from the opposite angle, | 1:00:02 | 1:00:04 | |
he's just cycled past the man in a blue blazer and cream trousers. | 1:00:04 | 1:00:08 | |
It doesn't make any sense, I tell you. | 1:00:08 | 1:00:10 | |
Like the decision to green-light this film in the first place. | 1:00:10 | 1:00:14 | |
Now, Wes Anderson's escapist, eccentric quirk-fest | 1:00:15 | 1:00:18 | |
Moonrise Kingdom. | 1:00:18 | 1:00:20 | |
When Cousin Ben is talking to Sam and Suzy | 1:00:20 | 1:00:22 | |
as they walk through the camp, a marching Scout extra | 1:00:22 | 1:00:25 | |
in the background can be seen looking and waving at the camera. | 1:00:25 | 1:00:30 | |
He'll be earning his Ruin The World Of The Movie badge, | 1:00:30 | 1:00:32 | |
I shouldn't wonder. | 1:00:32 | 1:00:34 | |
Still to come... | 1:00:34 | 1:00:36 | |
..and which 2012 film made the most mistakes in just one scene? | 1:00:46 | 1:00:50 | |
Find out soon. | 1:00:50 | 1:00:52 | |
This time, the outstanding, action-packed must-see | 1:01:01 | 1:01:03 | |
sci-fi classic Terminator 2: Judgement Day. | 1:01:03 | 1:01:07 | |
The story so far - in the first gripping and suspenseful | 1:01:07 | 1:01:10 | |
Terminator film, a robot comes from the future to kill Sarah Connor | 1:01:10 | 1:01:14 | |
and stop her from having a son who becomes a future revolutionary. | 1:01:14 | 1:01:17 | |
Kyle Reese, also from the future, trains Sarah | 1:01:17 | 1:01:20 | |
and gives her the knowledge she needs to defeat the robot. | 1:01:20 | 1:01:23 | |
She and Kyle get it on and conceive the prodigal son, John Connor. | 1:01:23 | 1:01:26 | |
Now, fast-forward 11 years to 1995. | 1:01:26 | 1:01:29 | |
The robots are going to have another go. | 1:01:29 | 1:01:32 | |
They send a more advanced Terminator back this time | 1:01:32 | 1:01:35 | |
with the mission of killing the now 11-year-old John Connor. | 1:01:35 | 1:01:38 | |
Good plan, robots. | 1:01:38 | 1:01:40 | |
But wait! Why have you sent it back to 1995, the very place where | 1:01:40 | 1:01:44 | |
Sarah Connor has had over a decade to prepare for such an event? | 1:01:44 | 1:01:48 | |
Look, you've given her some time to | 1:01:48 | 1:01:50 | |
raise her son to be a leader of the human resistance. | 1:01:50 | 1:01:53 | |
Smart work(!) | 1:01:53 | 1:01:54 | |
I mean, guys, she's already | 1:01:55 | 1:01:57 | |
attempted to bomb a computer factory, | 1:01:57 | 1:01:58 | |
and she's got a huge arsenal of weaponry | 1:01:58 | 1:02:00 | |
stored in an underground bunker. | 1:02:00 | 1:02:03 | |
What they should do is send the Terminator back further in time | 1:02:03 | 1:02:06 | |
to when they don't know about any of this. | 1:02:06 | 1:02:08 | |
Why not go back to the '70s when Sarah Connor was in school? | 1:02:08 | 1:02:11 | |
Or they could go even further back | 1:02:13 | 1:02:15 | |
and just take her out when she was a baby. | 1:02:15 | 1:02:17 | |
Or, with a bit of imagination, they could go back even further | 1:02:20 | 1:02:23 | |
and kill off her grandparents | 1:02:23 | 1:02:25 | |
and stop Sarah even getting born in the first place. | 1:02:25 | 1:02:28 | |
Or further still. | 1:02:28 | 1:02:29 | |
You get the general idea. | 1:02:30 | 1:02:32 | |
So, robots, not as clever as you think you are. | 1:02:32 | 1:02:35 | |
Because if you were, you wouldn't have had to make | 1:02:35 | 1:02:37 | |
Terminator 2: Judgement Day. | 1:02:37 | 1:02:39 | |
Which is why I hardly ever chat with my Roomba. | 1:02:39 | 1:02:41 | |
The end. | 1:02:41 | 1:02:42 | |
Oh, this is ridiculous. I can't make it sync. | 1:02:46 | 1:02:50 | |
Sync with laptop. | 1:02:50 | 1:02:52 | |
PHONE: Do you want me to call your Uncle Martin? | 1:02:52 | 1:02:55 | |
Sync with laptop. | 1:02:55 | 1:02:56 | |
Searching the internet for scuba-diving courses. | 1:02:56 | 1:03:00 | |
Sync with laptop. | 1:03:00 | 1:03:02 | |
That's great. Sync with laptop is now in your diary for April. | 1:03:02 | 1:03:06 | |
Do you want a reminder? | 1:03:06 | 1:03:08 | |
Technology! | 1:03:08 | 1:03:11 | |
This is the zesty but trivial What's Your Number? | 1:03:12 | 1:03:15 | |
And this clip is a little embarrassing for the production | 1:03:15 | 1:03:18 | |
as it obviously shows up the fact that they bought a knock off iPhone | 1:03:18 | 1:03:21 | |
copy from the Australian company Ipple | 1:03:21 | 1:03:25 | |
as when Ally answers it... | 1:03:25 | 1:03:26 | |
it's upside down. | 1:03:26 | 1:03:29 | |
Hi, Mom, can I call you right back? I'm in a meeting. OK. | 1:03:29 | 1:03:32 | |
One thing I really hate is when you're not sure | 1:03:36 | 1:03:39 | |
whether a text you sent has arrived. | 1:03:39 | 1:03:41 | |
Fortunately, the bland and uneven Like Crazy has the answer. | 1:03:41 | 1:03:45 | |
All you need to do is send your texts on either May 28th | 1:03:45 | 1:03:50 | |
or December 1st because apparently they are interchangeable. | 1:03:50 | 1:03:55 | |
The catchily-titled Twilight: Breaking Dawn Part 1 now, | 1:03:57 | 1:04:01 | |
and here Bella is calling Rosalie | 1:04:01 | 1:04:03 | |
but we can clearly see her phone is in lock mode. | 1:04:03 | 1:04:06 | |
Or is it? Vampire phones are special though as they're always | 1:04:08 | 1:04:11 | |
unlocked for emergency orders of delicious blood sandwiches. | 1:04:11 | 1:04:15 | |
A good romantic comedy should make you feel like anything is possible. | 1:04:17 | 1:04:20 | |
Apparently so can middling ones, | 1:04:20 | 1:04:23 | |
as this clip from Salmon Fishing In The Yemen proves. | 1:04:23 | 1:04:26 | |
It tries to make us believe that you can successfully send | 1:04:26 | 1:04:29 | |
heartfelt text messages when you clearly have no signal. | 1:04:29 | 1:04:32 | |
In the slow-paced and depressing Young Adult, | 1:04:36 | 1:04:39 | |
Mavis is getting a cassette out of her bag. | 1:04:39 | 1:04:41 | |
It's fully rewound. | 1:04:43 | 1:04:45 | |
But when she puts it in the car it is halfway through a song | 1:04:48 | 1:04:51 | |
and she has to rewind it. | 1:04:51 | 1:04:54 | |
She wants to get at that cassette with a pencil. | 1:04:54 | 1:04:57 | |
Or a biro. Which did you use? | 1:04:57 | 1:04:59 | |
Oh, ask your mum and dad then! | 1:05:00 | 1:05:02 | |
Here's the man who is suddenly in all films answering a phone | 1:05:05 | 1:05:08 | |
in the so-so indie Jeff Who Lives At Home. | 1:05:08 | 1:05:10 | |
PHONE RINGS | 1:05:10 | 1:05:11 | |
But he doesn't press the button to answer it. | 1:05:11 | 1:05:13 | |
BEEP | 1:05:13 | 1:05:15 | |
"A-ha!" think the boffins in the edit, | 1:05:15 | 1:05:17 | |
"We can fix that with a beep!" | 1:05:17 | 1:05:19 | |
PHONE RINGS | 1:05:20 | 1:05:22 | |
No, you cannot, boffins, for I, Robert Webb, have spotted it | 1:05:22 | 1:05:25 | |
and thusly foiled you. | 1:05:25 | 1:05:27 | |
Some of the best comedy films of all time have one thing in common. | 1:05:28 | 1:05:33 | |
Trading Places, Every Which Way But Loose, Dunston Checks In, | 1:05:33 | 1:05:35 | |
Outbreak, King Kong, Gorillas In The Mist, | 1:05:35 | 1:05:37 | |
Planet Of The Apes, Greystoke, Mighty Joe Young, Congo. | 1:05:37 | 1:05:42 | |
Sorry, no, the thing these films have in common is, like, monkeys. | 1:05:42 | 1:05:47 | |
It's monkeys. | 1:05:47 | 1:05:48 | |
Most of these films aren't even comedies. | 1:05:49 | 1:05:52 | |
I mean - I've seen Dunston Checks In. | 1:05:52 | 1:05:55 | |
I'll do it myself. No, I'll just busk it. | 1:05:55 | 1:05:57 | |
You're still rolling? | 1:05:57 | 1:05:59 | |
Good. | 1:05:59 | 1:06:00 | |
Some of the best comedy films of all time have one thing in common. | 1:06:00 | 1:06:03 | |
Confetti, Magicians, The Wedding Video. | 1:06:03 | 1:06:06 | |
What? That is totally justified. | 1:06:08 | 1:06:11 | |
All right, not Confetti but, I mean, the other two are quite good. | 1:06:13 | 1:06:17 | |
Anyone with an ounce of manners | 1:06:17 | 1:06:18 | |
knows that spitting on someone's head, | 1:06:18 | 1:06:20 | |
like littering or tax avoidance, is jolly rude. | 1:06:20 | 1:06:23 | |
So it's good that in the very coarse, very dumb Goon, | 1:06:23 | 1:06:27 | |
young Ryan here completely fails to hit his target, Doug. | 1:06:27 | 1:06:30 | |
See? | 1:06:35 | 1:06:36 | |
I don't know what this is. | 1:06:38 | 1:06:40 | |
Hair gel? Over-excitement? | 1:06:40 | 1:06:41 | |
Ice Hockey is hugely popular in the US. | 1:06:45 | 1:06:48 | |
However, it's not so popular that | 1:06:48 | 1:06:50 | |
people will turn up to watch a pretend match | 1:06:50 | 1:06:52 | |
as these cardboard cut-out excuses for audience members prove. | 1:06:52 | 1:06:55 | |
It just doesn't fit the HBO brand... | 1:06:59 | 1:07:02 | |
Here's Jennifer Aniston in the inert comedy Wanderlust | 1:07:02 | 1:07:05 | |
defiantly shutting her laptop, the IT equivalent of slamming a door. | 1:07:05 | 1:07:08 | |
We could throw in some vampires in there to have sex with the penguins | 1:07:08 | 1:07:12 | |
and then you could have brooding, sexy, little vampire penguins. | 1:07:12 | 1:07:15 | |
I'm calling actor error on this one. | 1:07:15 | 1:07:17 | |
You'd think that having done something so dramatic, | 1:07:17 | 1:07:19 | |
she'd have noticed that it was open again a few shots later | 1:07:19 | 1:07:22 | |
as she packed up to leave. | 1:07:22 | 1:07:23 | |
I think you're joking? | 1:07:23 | 1:07:25 | |
My favourite mistakes on this show are always the ones where it would | 1:07:26 | 1:07:30 | |
have been easier to get it right. | 1:07:30 | 1:07:32 | |
How did this end up happening, for example? | 1:07:32 | 1:07:34 | |
This margarita's poured out on the rocks. | 1:07:34 | 1:07:37 | |
..5 o'clock, when you could have 4.30. | 1:07:37 | 1:07:40 | |
Can someone have frozen, slushy margarita | 1:07:40 | 1:07:42 | |
ready for when we cut back? | 1:07:42 | 1:07:44 | |
Thanks! | 1:07:44 | 1:07:45 | |
Baffling. | 1:07:45 | 1:07:47 | |
-Keep going, keep going. -OK. | 1:07:47 | 1:07:48 | |
Depressing gross-out, body-swap nonsense now in The Change-Up, | 1:07:50 | 1:07:53 | |
a film so far beneath its star Jason Bateman | 1:07:53 | 1:07:57 | |
that he must've spent the whole shoot underground. | 1:07:57 | 1:08:00 | |
In this scene, Bateman as Mitch as Dave gets pushed out of bed, | 1:08:00 | 1:08:04 | |
or does he? | 1:08:04 | 1:08:05 | |
Jesus. Hey! | 1:08:05 | 1:08:06 | |
No, at the last minute, she snaps back her retracto-arms | 1:08:08 | 1:08:11 | |
and kicks him, instead. | 1:08:11 | 1:08:13 | |
Get through that door, Jason, | 1:08:13 | 1:08:15 | |
and don't stop till you're not in the film any more. | 1:08:15 | 1:08:18 | |
This gentleman is exposing his midriff in the way | 1:08:21 | 1:08:24 | |
we all did in the '80s. | 1:08:24 | 1:08:25 | |
He does it in the witty and frantic Two Days In New York. | 1:08:27 | 1:08:30 | |
But you know how revivals go - | 1:08:30 | 1:08:33 | |
there one minute, gone the next. | 1:08:33 | 1:08:35 | |
And then it's back in fashion again. | 1:08:37 | 1:08:39 | |
In the savagely satirical The Dictator, Sacha Baron Cohen | 1:08:42 | 1:08:46 | |
plays the hardest game of Guess Who ever. | 1:08:46 | 1:08:48 | |
Believe it or not, these are the pictures left after | 1:08:50 | 1:08:52 | |
he's flicked down all the ones with glasses. | 1:08:52 | 1:08:55 | |
And it's going to be a pretty tough game, | 1:08:56 | 1:08:58 | |
because most are duplicates or flips of each other. | 1:08:58 | 1:09:00 | |
I bet it's Bernard, though. It's always Bernard. | 1:09:00 | 1:09:03 | |
Supreme leader is on the talking painting. | 1:09:08 | 1:09:11 | |
These mug shots of Nadal and Aladeen show the pseudonyms | 1:09:11 | 1:09:13 | |
Nadal and Allison Burger. | 1:09:13 | 1:09:16 | |
..was cut short by what police | 1:09:16 | 1:09:17 | |
are now calling a terrorism misunderstanding. | 1:09:17 | 1:09:20 | |
But she says his name is Emir Gency Exit Only. | 1:09:20 | 1:09:23 | |
Emir Gency Exit Only. | 1:09:23 | 1:09:25 | |
If she'd only taken the time to study those mug shots, none of us | 1:09:25 | 1:09:28 | |
would have wasted a precious thirty seconds of our lives on that joke. | 1:09:28 | 1:09:32 | |
Sometimes, a film is just | 1:09:32 | 1:09:34 | |
so damn good that the only thing to do is make it again, but different. | 1:09:34 | 1:09:38 | |
You know that feeling when you're watching a cracking movie | 1:09:38 | 1:09:40 | |
and you think to yourself, "I'd love to see this again with | 1:09:40 | 1:09:43 | |
"different actors and with some of the dialogue slightly changed?" | 1:09:43 | 1:09:47 | |
Well, no, neither do I, but presumably it's happened to someone. | 1:09:47 | 1:09:51 | |
American studios have a particular fondness | 1:09:51 | 1:09:53 | |
for making new versions of French films, | 1:09:53 | 1:09:55 | |
figuring that nobody could possibly have seen the original. | 1:09:55 | 1:09:59 | |
Next time you see something hoo-larious with Adam Sandler | 1:09:59 | 1:10:02 | |
in a dress or Cameron Diaz being amusingly coarse, bear in mind it | 1:10:02 | 1:10:06 | |
probably started life as a sensitive examination of personal identity | 1:10:06 | 1:10:10 | |
called Pourquoi Moi? | 1:10:10 | 1:10:11 | |
In Die Another Day, James Bond had an invisible car. | 1:10:12 | 1:10:16 | |
Here's there's two... | 1:10:16 | 1:10:17 | |
..in this is lamentable spoof TV remake Dark Shadows. | 1:10:18 | 1:10:22 | |
You see? They're invisible. | 1:10:24 | 1:10:26 | |
Ha! Yah, boo, sucks, 007! | 1:10:26 | 1:10:28 | |
Now, that social taboo we're all uncomfortable talking about - | 1:10:33 | 1:10:37 | |
spontaneous combustion. | 1:10:37 | 1:10:39 | |
Luckily, the treatment's just a good dousing with water. | 1:10:39 | 1:10:43 | |
Special dry water that doesn't leave | 1:10:43 | 1:10:45 | |
a trace in the bucket once you've thrown it. | 1:10:45 | 1:10:48 | |
Vampires do DIY just like us regular folk. | 1:10:53 | 1:10:56 | |
Barnabus is inside a coffin with a separate lid, | 1:10:56 | 1:10:59 | |
but between here and the graveyard | 1:10:59 | 1:11:01 | |
they've clearly managed a pit stop at IKEA for some hinges. | 1:11:01 | 1:11:05 | |
They probably also picked up 500 tea lights for 50p | 1:11:05 | 1:11:08 | |
and gorged on Swedish meatballs. | 1:11:08 | 1:11:10 | |
The aptly-named 21 Jump Street now, a violent and naughty film | 1:11:13 | 1:11:17 | |
where characters jump from one location to another | 1:11:17 | 1:11:20 | |
without paying any attention to boring stuff like continuity. | 1:11:20 | 1:11:23 | |
For example, this door opens on three people | 1:11:23 | 1:11:26 | |
but only two of them walk in. | 1:11:26 | 1:11:28 | |
-Who invited you guys? -I did. The party's here. | 1:11:28 | 1:11:31 | |
-What's up? -Hi, buddy. | 1:11:31 | 1:11:33 | |
Delroy's probably popped round the corner to 21 Teleport Street. | 1:11:33 | 1:11:37 | |
A bona fide miracle, next. | 1:11:40 | 1:11:42 | |
Never mind loaves and fishes, some higher power obviously | 1:11:42 | 1:11:46 | |
decided that this tatty old newspaper on the church door | 1:11:46 | 1:11:49 | |
was making the place look untidy | 1:11:49 | 1:11:51 | |
because mere seconds later, it's gone. | 1:11:51 | 1:11:54 | |
Hallelujah! | 1:11:54 | 1:11:55 | |
It's hard to keep track of relations when you're from a larger family. | 1:11:58 | 1:12:01 | |
Like Ren in the semi-enjoyable but pointless Footloose remake. | 1:12:01 | 1:12:05 | |
His cousins can't stand still. | 1:12:05 | 1:12:08 | |
Here he's greeted by two of them. | 1:12:08 | 1:12:10 | |
How you doing? You guys are huge. Get off me. Attack of the cousins! | 1:12:10 | 1:12:14 | |
But then he's with just one. | 1:12:14 | 1:12:16 | |
The other's hanging out with Lulu. | 1:12:16 | 1:12:19 | |
Not that Lulu, alas, she's not in either of the Foots Loose. | 1:12:19 | 1:12:22 | |
This cross but charismatic young gentlemen played by not Kevin Bacon | 1:12:25 | 1:12:28 | |
gets all crossly into his Beetle and drives away, | 1:12:28 | 1:12:31 | |
showing the exposed engine. | 1:12:31 | 1:12:34 | |
ENGINE STARTS | 1:12:34 | 1:12:35 | |
But when he arrives at this warehouse, | 1:12:40 | 1:12:42 | |
the boot is repaired and the engine covered. | 1:12:42 | 1:12:44 | |
Oh, hello. I'm just flushing 250 million down the toilet, | 1:12:44 | 1:12:49 | |
rather like the makers of John Carter. | 1:12:49 | 1:12:51 | |
Here in Britain, we love an underdog. | 1:12:53 | 1:12:55 | |
We like things that are plucky or unfashionable or sometimes | 1:12:55 | 1:12:59 | |
just plain crap. We root for them, we cheer for them, | 1:12:59 | 1:13:02 | |
we wish them the best. | 1:13:02 | 1:13:03 | |
What we won't do apparently is buy tickets for them. | 1:13:03 | 1:13:06 | |
Which is why the following films appear in our | 1:13:06 | 1:13:09 | |
Worst Flops At The Box Office section. | 1:13:09 | 1:13:11 | |
Here are some mistakes which, like the films they come from, | 1:13:11 | 1:13:14 | |
you didn't notice the first time. | 1:13:14 | 1:13:16 | |
Conan The Terrible, sorry, Conan The Barbarian now, | 1:13:20 | 1:13:23 | |
and Tamara's strolling through the forest | 1:13:23 | 1:13:25 | |
with clear lines of sight in every direction. | 1:13:25 | 1:13:28 | |
Yet somehow she doesn't see or hear Massive Man On Horse. | 1:13:28 | 1:13:33 | |
She failed to spot the foot-soldiers too, | 1:13:35 | 1:13:37 | |
despite those skinny saplings being too small to hide behind. | 1:13:37 | 1:13:41 | |
She didn't see them. | 1:13:41 | 1:13:42 | |
Just like nobody saw this film. | 1:13:42 | 1:13:44 | |
I Don't Know How She Does It, | 1:13:51 | 1:13:53 | |
otherwise known as I Don't Know Why They Made It | 1:13:53 | 1:13:56 | |
has Sarah Jessica Parker running kookily late | 1:13:56 | 1:13:58 | |
with her beige heels and no tights. | 1:13:58 | 1:14:01 | |
But here she's wearing black tights and boots. | 1:14:01 | 1:14:04 | |
-Oh, hi, Clarke. -Good morning. | 1:14:04 | 1:14:07 | |
And now it's the original combo again. | 1:14:07 | 1:14:10 | |
I don't know how she did that. | 1:14:10 | 1:14:12 | |
It may have been a flop, | 1:14:15 | 1:14:16 | |
but John Carter was actually quite good fun. | 1:14:16 | 1:14:19 | |
This is the wedding, | 1:14:19 | 1:14:21 | |
and Sab Than is discovering that there's nothing more embarrassing | 1:14:21 | 1:14:24 | |
than finishing your stag night with a drunken tattoo. | 1:14:24 | 1:14:26 | |
In the time of oceans, the celestial lovers rose from the sea each night. | 1:14:26 | 1:14:31 | |
And just like a drunken tattoo, | 1:14:31 | 1:14:32 | |
this one is staggering all over his face from left to right. | 1:14:32 | 1:14:36 | |
So may it be again. | 1:14:36 | 1:14:38 | |
On to the hokey and scrappy Cowboys And Aliens now, | 1:14:41 | 1:14:44 | |
and as Jake escapes from the alien stronghold | 1:14:44 | 1:14:47 | |
he's covered in a blast of alien space dust | 1:14:47 | 1:14:50 | |
or popping candy, as you youngsters call it. | 1:14:50 | 1:14:52 | |
I hate it when that happens. | 1:14:56 | 1:14:57 | |
And so does Jake. Look, he's now dust-free. | 1:14:59 | 1:15:01 | |
The Thing is a dull, sloppy, unsuccessful prequel | 1:15:05 | 1:15:08 | |
to a successful film called The Thing. | 1:15:08 | 1:15:11 | |
I'm hoping they make a sequel called And Another Thing. | 1:15:11 | 1:15:16 | |
Here, Kate turns on both taps, | 1:15:16 | 1:15:18 | |
has the most feeble face-wash of all time, | 1:15:18 | 1:15:21 | |
then turns off the water one-handed. | 1:15:21 | 1:15:24 | |
So the thing about The Thing is | 1:15:24 | 1:15:26 | |
why isn't the other tap still running? | 1:15:26 | 1:15:28 | |
The aptly-named Anonymous was a preposterous romp based on | 1:15:34 | 1:15:38 | |
the idea that Shakespeare wasn't Shakespeare, but the Earl of Oxford. | 1:15:38 | 1:15:41 | |
However, we can reveal | 1:15:41 | 1:15:43 | |
that the Earl of Oxford wasn't the Earl of Oxford, either. | 1:15:43 | 1:15:46 | |
judging by that very modern tattoo that's peeping out | 1:15:46 | 1:15:49 | |
from under his doublet, he's clearly Rhys Ifans. | 1:15:49 | 1:15:53 | |
If you're the kind of person who, when reading a book, | 1:15:53 | 1:15:55 | |
likes to skip over the difficult bits, | 1:15:55 | 1:15:57 | |
and put Keira Knightley all over the rest, | 1:15:57 | 1:15:59 | |
then you'll love film adaptations. | 1:15:59 | 1:16:01 | |
Since film was invented, directors have been slightly ruining | 1:16:01 | 1:16:04 | |
or basically missing the point of some of the greatest literary works | 1:16:04 | 1:16:08 | |
in the world. But they still found room to make some shocking mistakes. | 1:16:08 | 1:16:11 | |
Fortunately, the world of literature has been getting its own back | 1:16:11 | 1:16:14 | |
for years by taking tremendous films and getting hacks to write | 1:16:14 | 1:16:18 | |
unreadably awful novelizations. | 1:16:18 | 1:16:20 | |
So, you know, swings and roundabouts. | 1:16:20 | 1:16:23 | |
George Smiley's waiting for a call, with his shoes neatly under | 1:16:23 | 1:16:26 | |
the table in the thrilling and classy Tinker Tailor Soldier Spy. | 1:16:26 | 1:16:30 | |
But when it's an important call, | 1:16:37 | 1:16:39 | |
surely it's wise to be fully clothed, | 1:16:39 | 1:16:41 | |
so in the next shot they're back on again. | 1:16:41 | 1:16:44 | |
Though now he's taken them off. | 1:16:44 | 1:16:46 | |
Oh, make up your mind! | 1:16:46 | 1:16:48 | |
The same thing happens with his underpants | 1:16:48 | 1:16:50 | |
but we can't show that bit. | 1:16:50 | 1:16:52 | |
I think there's just a simple script typo in this scene | 1:16:57 | 1:17:00 | |
from meandering flick The Rum Diary. | 1:17:00 | 1:17:03 | |
There's Johnny Depp with his hair all unkempt | 1:17:03 | 1:17:06 | |
and this line is delivered. | 1:17:06 | 1:17:09 | |
You blew it, Kemp. | 1:17:09 | 1:17:12 | |
And suddenly Johnny's neatly coiffed again. | 1:17:12 | 1:17:15 | |
I'm pretty sure the line should have been, "You blow-dried it, Kemp." | 1:17:15 | 1:17:19 | |
Want to have some breakfast? A little lobster on the beach? | 1:17:22 | 1:17:25 | |
-20 minutes away. -Sounds inviting. | 1:17:25 | 1:17:28 | |
Sunglasses, like umbrellas and razors can be categorised as | 1:17:28 | 1:17:31 | |
things in life you find yourself buying | 1:17:31 | 1:17:33 | |
much more often than you ought to. | 1:17:33 | 1:17:34 | |
I just called Miami. | 1:17:34 | 1:17:36 | |
But on Movie Mistakes we love them. | 1:17:36 | 1:17:38 | |
Why? Well, take Johnny Depp. He puts them on... | 1:17:38 | 1:17:42 | |
I better call in. | 1:17:42 | 1:17:43 | |
..he stands up... | 1:17:43 | 1:17:45 | |
Call from the car. | 1:17:45 | 1:17:46 | |
..he picks them up again. | 1:17:46 | 1:17:48 | |
Well, it's easy to forget where you've put them. | 1:17:48 | 1:17:51 | |
Ah, look, nothing in the sky for miles around, | 1:17:55 | 1:17:58 | |
except a few clouds in this expensive-looking but unnecessary | 1:17:58 | 1:18:01 | |
umpteenth adaptation of The Three Musketeers. | 1:18:01 | 1:18:04 | |
And yet just 39 seconds later... | 1:18:07 | 1:18:10 | |
..where did this ruddy, great low-flying airship come from? | 1:18:11 | 1:18:14 | |
SHOUTING | 1:18:17 | 1:18:19 | |
Some mistakes can be put down to simple revenge. | 1:18:24 | 1:18:27 | |
Clearly the cameraman was so annoyed at crashing into this wooden pole... | 1:18:27 | 1:18:30 | |
Careful! ..that he sneakily removed it for the next shot. | 1:18:30 | 1:18:34 | |
Luckily, someone noticed | 1:18:35 | 1:18:37 | |
and Poley resumed his rightful place next to the step. | 1:18:37 | 1:18:40 | |
For a bit. | 1:18:40 | 1:18:41 | |
Rule one of escaping from baddies - | 1:18:50 | 1:18:52 | |
be sure you make a clean getaway. | 1:18:52 | 1:18:54 | |
However, once D'Artagnan runs through the door, | 1:18:55 | 1:18:58 | |
he just stops and waits. | 1:18:58 | 1:19:01 | |
Almost, and I know this is going to sound mad, | 1:19:01 | 1:19:04 | |
almost like an actor waiting for his next cue. | 1:19:04 | 1:19:07 | |
If I dared, I'd touch you, see if you were real. | 1:19:12 | 1:19:16 | |
Mr Rochester's journal. "Wednesday. An exciting day. | 1:19:16 | 1:19:20 | |
"Jane Eyre returned from visiting her aunt, | 1:19:20 | 1:19:23 | |
"I put this very journal down to say hello. | 1:19:23 | 1:19:28 | |
"However, no sooner had she ascended the stairs | 1:19:28 | 1:19:30 | |
"than my journal completely disappeared, | 1:19:30 | 1:19:33 | |
"only to reappear moments later. | 1:19:33 | 1:19:35 | |
"Should it disappear again, | 1:19:35 | 1:19:37 | |
"I shall write my innermost thoughts on my massive hat." | 1:19:37 | 1:19:40 | |
Very sloppy. | 1:19:40 | 1:19:41 | |
If you don't know what I'm talking about when I say, | 1:19:41 | 1:19:44 | |
"She sees a nun and falls off the bell tower," | 1:19:44 | 1:19:46 | |
or "It's his sledge," then congratulations! | 1:19:46 | 1:19:49 | |
You've just had the two top films of all time ruined for you. | 1:19:49 | 1:19:53 | |
In the latest BFI/Sight and Sound Poll of the greatest ever films, | 1:19:53 | 1:19:56 | |
Vertigo ended Citizen Kane's long run by pipping it to the top spot. | 1:19:56 | 1:20:01 | |
The rest of the top ten was made up of popular favourites like | 1:20:01 | 1:20:04 | |
Tokyo Story, La Regle De Jeu, | 1:20:04 | 1:20:06 | |
Sunrise: A Song Of Two Humans and | 1:20:06 | 1:20:08 | |
The Passion Of Joan Of Arc, | 1:20:08 | 1:20:09 | |
because film critics aren't in any way up themselves. | 1:20:09 | 1:20:13 | |
Anyway, even being the best of all time | 1:20:13 | 1:20:15 | |
doesn't protect you from our beady eye. | 1:20:15 | 1:20:19 | |
One of greatest, most suspenseful thrillers now. Psycho. | 1:20:19 | 1:20:23 | |
This being 1960, everyone was more modest than they are nowadays. | 1:20:23 | 1:20:27 | |
Janet Leigh's so prim, | 1:20:27 | 1:20:29 | |
she even wore her underpants for her ill-fated shower, as you can see | 1:20:29 | 1:20:32 | |
when creepy Norman Bates wraps her up and carries her to the boot. | 1:20:32 | 1:20:36 | |
Oddly enough, in Gus Van Sant's pointless and embarrassing | 1:20:40 | 1:20:43 | |
shot-for-shot remake, they deliberately made the same mistake | 1:20:43 | 1:20:47 | |
again, and you get the chance to see Anne Heche in her undies too. | 1:20:47 | 1:20:50 | |
Twice the goofs for half the fun! | 1:20:50 | 1:20:52 | |
The harsh and brutally dark war classic Apocalypse Now | 1:20:56 | 1:20:59 | |
features this cameo from director, Francis Ford Coppola. | 1:20:59 | 1:21:02 | |
He clearly loves the limelight, as just seconds before, | 1:21:02 | 1:21:05 | |
we see the crew filming in blatant silhouette. | 1:21:05 | 1:21:10 | |
Word of advice FFC, next time do it with jazz-hands. | 1:21:10 | 1:21:13 | |
Astonishing visuals, plus over-pretentiousness equals | 1:21:16 | 1:21:21 | |
2001: A Space Odyssey, | 1:21:21 | 1:21:23 | |
and in this scene which takes place some hours | 1:21:23 | 1:21:25 | |
before the plot starts, Dr Floyd is looking at pictures of ground. | 1:21:25 | 1:21:30 | |
However, now it's completely different ground. | 1:21:30 | 1:21:33 | |
That's what happens when you do 127 retakes, | 1:21:33 | 1:21:36 | |
Mr Kubrick. Learn from the professionals! | 1:21:36 | 1:21:38 | |
I honestly think you ought to sit down calmly. | 1:21:42 | 1:21:44 | |
Now, should I ever find myself trapped on an airless space station | 1:21:44 | 1:21:48 | |
trying to stop a malfunctioning artificial intelligence killing me, | 1:21:48 | 1:21:51 | |
remind me to make sure my spacesuit, essential to an airless environment, | 1:21:51 | 1:21:55 | |
is securely fastened, exposing no flesh, | 1:21:55 | 1:21:58 | |
otherwise I might get a bit breathless, | 1:21:58 | 1:22:00 | |
goggly eyed and generally explode a bit. | 1:22:00 | 1:22:04 | |
Meticulously crafted and elegantly shot, it can only be Citizen Kane. | 1:22:04 | 1:22:10 | |
However, here you can see some animated pterodactyls | 1:22:10 | 1:22:13 | |
flying around some 20th-century picnickers! | 1:22:13 | 1:22:16 | |
Apparently this was background footage nabbed from Son Of Kong, | 1:22:16 | 1:22:19 | |
but Orson Welles reportedly liked | 1:22:19 | 1:22:21 | |
the reptiles so much he kept them in. | 1:22:21 | 1:22:24 | |
Orson, you well-known perfectionist, you, of course you did! | 1:22:24 | 1:22:27 | |
Interior design now, and here's Jimmy Stewart in the exciting | 1:22:31 | 1:22:34 | |
and tension-filled number-one movie in the poll, Vertigo. | 1:22:34 | 1:22:38 | |
Look at the cushions he offers Madeline to sit on. | 1:22:38 | 1:22:41 | |
They're green, yes? Oh, no, they're not, they're gold. | 1:22:41 | 1:22:45 | |
Oh, wait a minute, sorry, folks. | 1:22:47 | 1:22:49 | |
They're definitely, definitely green. | 1:22:49 | 1:22:52 | |
Ever the attentive host, | 1:22:54 | 1:22:57 | |
Jimmy's offering his lovely visitor a cup of coffee. | 1:22:57 | 1:23:00 | |
Well, to be more precise, just a cup. | 1:23:00 | 1:23:02 | |
Maybe she should pop next door | 1:23:02 | 1:23:04 | |
and borrow some from the hunky neighbour? | 1:23:04 | 1:23:07 | |
In this tense scene on the beach, | 1:23:10 | 1:23:12 | |
Madeline is getting in touch with nature and hugging a tree. | 1:23:12 | 1:23:15 | |
I'm walking down a long corridor, that once was mirrored. | 1:23:15 | 1:23:22 | |
And fragments of the mirror still hang there. | 1:23:22 | 1:23:25 | |
However, she manages to turn her back on it, | 1:23:25 | 1:23:27 | |
seemingly without moving. | 1:23:27 | 1:23:28 | |
I tell you what, that Alfred Hitchcock certainly knows | 1:23:28 | 1:23:31 | |
how to weave a web of mystery and intrigue. | 1:23:31 | 1:23:33 | |
It's a little bit of a Hollywood secret, but you can't just | 1:23:35 | 1:23:39 | |
use normal cars, trains, motorbikes and so on, when making a film. | 1:23:39 | 1:23:42 | |
No, all the vehicles you see are stars in their own right. | 1:23:42 | 1:23:45 | |
The cars always demand their own trailers, every motorcycle insists | 1:23:45 | 1:23:49 | |
on riders, buses won't film without regular stops and all the aeroplanes | 1:23:49 | 1:23:53 | |
are scientologists and won't let anyone look them in the cockpit. | 1:23:53 | 1:23:56 | |
Also, something about helicopters, um, they work on a rotor system? | 1:23:56 | 1:24:02 | |
Something like that? Somebody sort this out. | 1:24:02 | 1:24:06 | |
Icily compelling sex pest docusoap Shame now, | 1:24:06 | 1:24:11 | |
and here Michael "Middle Stump" Fassbender arrives at Fulton Street | 1:24:11 | 1:24:15 | |
as he creepily eyes up a woman in a hat. | 1:24:15 | 1:24:18 | |
But he's on the world's most inconvenient train, | 1:24:30 | 1:24:33 | |
as you see when they leave Fulton Street. | 1:24:33 | 1:24:35 | |
Then after a few minutes of serious-faced ogling, arrive at... | 1:24:38 | 1:24:42 | |
Fulton Street! | 1:24:42 | 1:24:43 | |
Get your coat, love, you've pulled. | 1:24:46 | 1:24:48 | |
Every which way but funny now with The Zookeeper. | 1:24:53 | 1:24:56 | |
Everything about this clip is ridiculous. | 1:24:56 | 1:24:59 | |
The background is swishing about like nobody's business, | 1:25:00 | 1:25:03 | |
and TV funnyman Kevin James isn't even turning the steering wheel. | 1:25:03 | 1:25:08 | |
Absolutely ridiculous. | 1:25:09 | 1:25:11 | |
The talking gorilla in the daringly tight T-shirt, however, is fine. | 1:25:11 | 1:25:14 | |
Misbehaving wingtips now, | 1:25:19 | 1:25:20 | |
which is the bane of the Victorian dandy's life, | 1:25:20 | 1:25:23 | |
but also in the turbo-charged Avengers Assemble. | 1:25:23 | 1:25:26 | |
As the plane lands, the wings fold in. | 1:25:30 | 1:25:32 | |
But when Captain America disembarks, | 1:25:36 | 1:25:38 | |
they are folded out again. | 1:25:38 | 1:25:39 | |
Let's see it again - and watch out for the bonus boob here. | 1:25:39 | 1:25:43 | |
What the hell happened to the hi-vis orange runway man? | 1:25:43 | 1:25:47 | |
The windscreen wipers on this police car | 1:25:54 | 1:25:56 | |
in the comedically dry The Guard remind me very much | 1:25:56 | 1:25:59 | |
of the men in The Grand old Duke of York. | 1:25:59 | 1:26:01 | |
Because when they are up they are up, | 1:26:01 | 1:26:03 | |
and when they are down they are down. | 1:26:03 | 1:26:05 | |
And that's the end of my simile. Wrong windscreen wipers is my point. | 1:26:05 | 1:26:10 | |
Just been transferred from Dublin. | 1:26:10 | 1:26:12 | |
Pointless remake of Footloose now - | 1:26:14 | 1:26:16 | |
and a stark reminder that level crossings | 1:26:16 | 1:26:18 | |
are dangerous places, kids. Here we see how, | 1:26:18 | 1:26:21 | |
if you're not careful, your lovely sister's saloon car | 1:26:21 | 1:26:23 | |
will inexplicably turn into a black four by four | 1:26:23 | 1:26:26 | |
the moment it touches the railway lines. | 1:26:26 | 1:26:28 | |
He's not looking good, sir. | 1:26:36 | 1:26:38 | |
The disappointing Johnny English Reborn now, | 1:26:38 | 1:26:40 | |
and when Johnny says, "It's just like riding a bike," | 1:26:40 | 1:26:44 | |
that's clearly not what he said when they shot it. | 1:26:44 | 1:26:47 | |
-It's just like riding a bike. -Maybe he was actually saying, | 1:26:47 | 1:26:50 | |
"Get rid of that man on the back seat," | 1:26:50 | 1:26:52 | |
because by the next shot, he has clearly disappeared. | 1:26:52 | 1:26:55 | |
Yes, it's all coming back to me. | 1:26:57 | 1:26:59 | |
If violent revenge flick How I Spent My Summer Vacation | 1:27:06 | 1:27:09 | |
is anything to go by, Mel Gibson spends his holidays | 1:27:09 | 1:27:11 | |
dressed as a clown in a deserted part of Mexico. | 1:27:11 | 1:27:15 | |
Not that deserted, mind. | 1:27:15 | 1:27:16 | |
Those tyre tracks show there's been another car there, | 1:27:16 | 1:27:19 | |
or at the very least a previous take. | 1:27:19 | 1:27:22 | |
Action movies are like making love. Last about 90 minutes check. | 1:27:25 | 1:27:30 | |
Have loud noises going on throughout check. | 1:27:30 | 1:27:32 | |
An Aerosmith song playing check. | 1:27:32 | 1:27:34 | |
And big men in vests running around shooting assorted Europeans | 1:27:34 | 1:27:38 | |
or Middle Easterns - check. | 1:27:38 | 1:27:39 | |
And, of course, an awful lot of blood. | 1:27:39 | 1:27:42 | |
Happy lovemaking, sex fans! | 1:27:42 | 1:27:45 | |
What's wrong here in the hammy and laughably bad Abduction? | 1:27:45 | 1:27:48 | |
Acting rule number one is never look into the camera, but gotcha! | 1:27:50 | 1:27:54 | |
Taylor Lautner can't resist! | 1:27:54 | 1:27:56 | |
Still, if this is the take they used, the other ones must have just | 1:27:57 | 1:28:01 | |
had him staring slack-jawed into the camera and wobbling. | 1:28:01 | 1:28:04 | |
Look at the light filtering through the outdoor window. | 1:28:07 | 1:28:10 | |
I love a good sunset, don't you? | 1:28:10 | 1:28:12 | |
And so do the makers of Abduction. | 1:28:13 | 1:28:16 | |
They've really captured that magic hour. | 1:28:16 | 1:28:19 | |
-Yeah. -'Hey, I heard you pull up...' | 1:28:19 | 1:28:23 | |
Or rather, that abrupt few seconds between day and, | 1:28:23 | 1:28:26 | |
in the next shot, night. | 1:28:26 | 1:28:28 | |
It's the run-of-the-mill In Time, | 1:28:31 | 1:28:33 | |
and Henry's timeline's running out, so he's decided to keel over | 1:28:33 | 1:28:37 | |
and fall into some lovely running water. | 1:28:37 | 1:28:40 | |
That's very fortunate, had he jumped a few seconds earlier, | 1:28:44 | 1:28:49 | |
he'd have fallen on to a barely wet slab of concrete. | 1:28:49 | 1:28:52 | |
The generally "meh" This Means War now, and attention, ladies - | 1:28:57 | 1:29:01 | |
if you've ever had your jacket stolen from a nightclub, | 1:29:01 | 1:29:04 | |
it was almost certainly stolen by Hollywood actor, Reese Witherspoon. | 1:29:04 | 1:29:08 | |
The proof? Well, here she is going in without a jacket, | 1:29:08 | 1:29:14 | |
and here she is exiting the same club, with a jacket. | 1:29:14 | 1:29:18 | |
-Tell it to the DA, Witherspoon. -I'm not the girl for you. | 1:29:18 | 1:29:22 | |
Tooth fairy news now, | 1:29:23 | 1:29:25 | |
and it turns out the little blighter's working overtime. | 1:29:25 | 1:29:28 | |
Here, young Joe is missing the traditional two front teeth, | 1:29:28 | 1:29:32 | |
but the director clearly thought that was a bit of a cliche, | 1:29:32 | 1:29:37 | |
because later on the same day the missing teeth are altogether | 1:29:37 | 1:29:40 | |
hipper, edgier bottom-row ones. | 1:29:40 | 1:29:43 | |
Hands up! | 1:29:43 | 1:29:45 | |
Here's a clip from thin-on-laughs action comedy, 30 Minutes Or Less, | 1:29:49 | 1:29:53 | |
which, if it isn't a sequel to One Hour Photo, should be. | 1:29:53 | 1:29:57 | |
Here, Chet's spray-painted the inside of the door. | 1:29:57 | 1:30:00 | |
It's like you bought a Mustang... | 1:30:01 | 1:30:04 | |
Luckily, by the time they stop, the paint's disappeared. | 1:30:04 | 1:30:08 | |
My wife gets angry when I eat sushi in the car. | 1:30:08 | 1:30:10 | |
She doesn't understand it makes me a better driver. | 1:30:10 | 1:30:13 | |
Hugely-disappointing, dreary war-fest Red Tails now, | 1:30:16 | 1:30:19 | |
and important advice on hat etiquette. | 1:30:19 | 1:30:22 | |
I need everyone on this next mission. | 1:30:22 | 1:30:24 | |
Young Joe here is committing a faux-pas of epic proportions | 1:30:24 | 1:30:27 | |
as Army regulations state that hats should be | 1:30:27 | 1:30:29 | |
removed when indoors... | 1:30:29 | 1:30:31 | |
and worn when outside. | 1:30:31 | 1:30:33 | |
He's doing neither. | 1:30:33 | 1:30:35 | |
He'd be a laughing stock at Ascot, the berk. | 1:30:35 | 1:30:38 | |
Cuba Gooding Jnr is doing his best | 1:30:42 | 1:30:44 | |
to win the coveted Pipe Smoker Of The Year award. | 1:30:44 | 1:30:47 | |
Look at his masterful skills. | 1:30:47 | 1:30:49 | |
He's so good, he can simultaneously point out directions with it. | 1:30:49 | 1:30:54 | |
And smoke it at the same time. | 1:30:54 | 1:30:55 | |
Airports are stressful - all that queuing, waiting | 1:30:59 | 1:31:02 | |
and having your private bits probed by security. | 1:31:02 | 1:31:04 | |
These poor blokes are having a terrible time, | 1:31:04 | 1:31:07 | |
their duty-free fags have finished and their plane has inexplicably changed from an A3... | 1:31:07 | 1:31:13 | |
..to A2. | 1:31:16 | 1:31:17 | |
Goodness knows where their luggage is going to end up! | 1:31:17 | 1:31:20 | |
Deck the halls with merry gentlemen, it's the most wonderful time of the chestnuts roasting | 1:31:20 | 1:31:26 | |
on a red-nosed sleigh bells jingle all the way. | 1:31:26 | 1:31:29 | |
I actually used to hate Christmas, but one day, just as I was about to jump in a river, | 1:31:29 | 1:31:33 | |
this angel came along and showed me what the world would have been like | 1:31:33 | 1:31:37 | |
if Great Movie Mistakes had never happened. | 1:31:37 | 1:31:39 | |
And let me tell you, it wasn't pretty, it wasn't pretty at all. | 1:31:39 | 1:31:43 | |
Thankfully, here's some festive movie goofs. | 1:31:43 | 1:31:47 | |
HE BLOWS HIS MOUSTACHE FROM HIS MOUTH | 1:31:47 | 1:31:49 | |
Timeless feel-good Christmas classic, It's A Wonderful Life, now | 1:31:51 | 1:31:54 | |
and James Stewart has brought with him, | 1:31:54 | 1:31:56 | |
a festive bog seat covered in holly | 1:31:56 | 1:31:58 | |
to really liven up the atmos in the smallest room. | 1:31:58 | 1:32:01 | |
ALL TALK AT ONCE | 1:32:01 | 1:32:03 | |
He puts it down... | 1:32:03 | 1:32:04 | |
Harry... | 1:32:04 | 1:32:05 | |
..but, it immediately springs back up again. | 1:32:05 | 1:32:08 | |
He must have caught his sleeve on a sprig. | 1:32:08 | 1:32:11 | |
Dancing is prohibited at this municipal pool, James, | 1:32:14 | 1:32:17 | |
it's the rules. | 1:32:17 | 1:32:19 | |
And where's your bathing cap? | 1:32:23 | 1:32:25 | |
Don't you know stray hair clogs the filters? | 1:32:25 | 1:32:28 | |
Even more so when your entire toupee floats off. | 1:32:28 | 1:32:31 | |
Well, I hope that distracts him from any heavy petting with that lady. | 1:32:31 | 1:32:35 | |
Before the tobacco ad ban, | 1:32:39 | 1:32:41 | |
they said a pipe really does something for a man. | 1:32:41 | 1:32:44 | |
And here you can see they're not wrong. | 1:32:44 | 1:32:47 | |
See this smoking chap? | 1:32:47 | 1:32:48 | |
Instant sex change. | 1:32:49 | 1:32:51 | |
Proof you should just say no to pipes, BBC Three viewers. | 1:32:51 | 1:32:55 | |
Wait a minute. | 1:32:55 | 1:32:56 | |
I think I've got a date. | 1:32:56 | 1:32:57 | |
The Santa Clause is a reasonably jolly movie | 1:33:00 | 1:33:02 | |
if there's nothing else on. | 1:33:02 | 1:33:04 | |
And here's Father Christmas himself, | 1:33:04 | 1:33:06 | |
having trouble doing his only job of the year. | 1:33:06 | 1:33:09 | |
But what's this? | 1:33:10 | 1:33:12 | |
I know people say there's a blanket of snow, | 1:33:12 | 1:33:15 | |
but that just looks like an actual blanket to me. | 1:33:15 | 1:33:18 | |
"Watch the skies," says the sign on the movie theatre | 1:33:21 | 1:33:25 | |
in the still very entertaining and funny festive treat, Gremlins. | 1:33:25 | 1:33:29 | |
Actually, that sign should have said, | 1:33:33 | 1:33:35 | |
"Watch the hills," as they're green and free of snow, unlike the rest of the set. | 1:33:35 | 1:33:39 | |
Here, one of the crew must have had | 1:33:42 | 1:33:44 | |
a late-night kebab and a couple of cans, | 1:33:44 | 1:33:46 | |
as they're clearly visible pushing over the Christmas tree. | 1:33:46 | 1:33:50 | |
Christmas spirit? Christmas lager, I wager. | 1:33:51 | 1:33:54 | |
Now, viewers, here's something you really, really don't want to do. | 1:33:58 | 1:34:01 | |
And that's cut the cable for some fairy lights with | 1:34:01 | 1:34:04 | |
a pair of metal scissors while they're still on. | 1:34:04 | 1:34:07 | |
But, here all the lights stay on. | 1:34:08 | 1:34:10 | |
They must have matted out the stuntman who fried doing the scene. | 1:34:10 | 1:34:14 | |
Good evening. I'm television's Robert Webb. | 1:34:20 | 1:34:22 | |
You might recognise me from your television on which I often appear. | 1:34:22 | 1:34:26 | |
Welcome once again to Pointless View, where we invite you, | 1:34:26 | 1:34:29 | |
some public, to do our job for us. | 1:34:29 | 1:34:31 | |
HE LAUGHS | 1:34:31 | 1:34:32 | |
Of course, I'm joking... Partially. | 1:34:32 | 1:34:35 | |
Onto our first letter. | 1:34:35 | 1:34:36 | |
This comes from Arthur Martha Not Sure in Clittering, East Sussex. | 1:34:36 | 1:34:40 | |
And he or she has reached the end of his or her short fuse | 1:34:40 | 1:34:43 | |
with The Adventures Of Tintin: The Secret Of The Unicorn. | 1:34:43 | 1:34:46 | |
'When Alan finds out that Tintin has blocked the door to the cabin, | 1:34:56 | 1:35:00 | |
'he tells Tom to get TNT. | 1:35:00 | 1:35:02 | |
'Well, Tom returns with dynamite.' | 1:35:02 | 1:35:04 | |
Play like that then do you, Tintin? Get the TNT. | 1:35:04 | 1:35:07 | |
'Dynamite contains no TNT, but is actually stabilised nitro-glycerine. | 1:35:07 | 1:35:12 | |
'I know this because I'm pretty much certain I was once in a war.' | 1:35:12 | 1:35:16 | |
Yikes! I certainly won't get on the wrong side of you, Arthur Martha. | 1:35:27 | 1:35:30 | |
But you're right, that duck was delicious. | 1:35:30 | 1:35:33 | |
our next letter's from Lazy Susan from Prisk, who is so angry with | 1:35:33 | 1:35:37 | |
the film Cowboys & Aliens, | 1:35:37 | 1:35:39 | |
that we might as well have to rename it, Cowboys & Aliens & Susan. | 1:35:39 | 1:35:42 | |
'At one point, in a scene set in 1873, | 1:36:04 | 1:36:06 | |
'the bandit suggested a trip to Puerto Vallarta, | 1:36:06 | 1:36:09 | |
'which obviously didn't yet exist.' | 1:36:09 | 1:36:12 | |
We're going as far away as we can go. | 1:36:12 | 1:36:14 | |
You remember Puerto Vallarta? | 1:36:14 | 1:36:15 | |
That's enough now, Lazy Susan. | 1:36:22 | 1:36:24 | |
A word from the web now, and I don't mean me. | 1:36:24 | 1:36:27 | |
Someone has finally left a message on the Pointless View website. | 1:36:27 | 1:36:30 | |
This is from a Mr Rodney Fascist. I love fashion too, Rodney. | 1:36:30 | 1:36:34 | |
He has this to say about The Three Musketeers. | 1:36:34 | 1:36:37 | |
'In one scene, King Louis XIII is shown playing a game of chess | 1:36:43 | 1:36:47 | |
'with Cardinal Richelieu. | 1:36:47 | 1:36:49 | |
'During the game when the king was in check, | 1:36:49 | 1:36:51 | |
'the Cardinal advises him to castle.' | 1:36:51 | 1:36:54 | |
But he's vulnerable, he needs protection. | 1:36:54 | 1:36:56 | |
May I suggest you castle him? | 1:36:56 | 1:36:58 | |
'But this move cannot be made when the king is in check. | 1:36:58 | 1:37:01 | |
'This man is a Cardinal, ordained by God. | 1:37:01 | 1:37:03 | |
'I was almost sick into my own lap when I saw this happen.' | 1:37:03 | 1:37:06 | |
This next letter comes in from Dame Washalot, | 1:37:10 | 1:37:13 | |
from the slippery slope at the Magic Faraway Tree. | 1:37:13 | 1:37:15 | |
'Here, all the men are shown wearing the aforementioned trousers, | 1:37:25 | 1:37:28 | |
'which would not come to exist in the Mediterranean for another 600 years, | 1:37:28 | 1:37:32 | |
'and which the ancient Greeks never wore, | 1:37:32 | 1:37:34 | |
'opting for loose-fitting, draped clothing.' | 1:37:34 | 1:37:37 | |
And that's another story, Dame, but your secret's safe with me. | 1:37:49 | 1:37:53 | |
A more serious moment now, | 1:37:53 | 1:37:55 | |
as we touch on the very serious subject of war. | 1:37:55 | 1:37:58 | |
The film War Horse makes the horror of war very clear by showing | 1:37:58 | 1:38:01 | |
how much worse things are when they happen to a horse. | 1:38:01 | 1:38:04 | |
But not everyone was convinced, certainly not Doris Mantovani, | 1:38:04 | 1:38:08 | |
of Clinic in Sexfordshire. | 1:38:08 | 1:38:09 | |
'Before that, in spite of the expensive set | 1:38:16 | 1:38:18 | |
'and the money spent in the art department, | 1:38:18 | 1:38:20 | |
'I was horrified to see Major Stewart refer to the Indian NCO as Sergeant Major.' | 1:38:20 | 1:38:24 | |
Excellent, Sergeant Major. | 1:38:24 | 1:38:26 | |
'There was no such rank in the British Indian Army. | 1:38:26 | 1:38:29 | |
'Indian cavalry Sergeants were known as Duffadars. | 1:38:29 | 1:38:32 | |
'More senior Indian cavalry officers held VCO ranks, Jemadar, | 1:38:32 | 1:38:36 | |
'Risaldar and Risaldar Major, which had no British equivalent.' | 1:38:36 | 1:38:40 | |
# Come fly with me | 1:38:45 | 1:38:46 | |
# Let's fly, let's fly away.# | 1:38:46 | 1:38:49 | |
I'm not just singing that to be sexy, | 1:38:49 | 1:38:51 | |
it's all so relevant to our next two letters which both have a distinctly | 1:38:51 | 1:38:55 | |
aviational theme and come to us courtesy of identical twins, | 1:38:55 | 1:38:59 | |
Bethany and Ethany Sleepytime, from Up The Wooden Hill in Bedfordshire. | 1:38:59 | 1:39:03 | |
Here is Bethany's letter. | 1:39:03 | 1:39:04 | |
'..the sheik's aircraft has a Moroccan tail ID, | 1:39:07 | 1:39:10 | |
'not a Yemeni tail ID.' | 1:39:10 | 1:39:11 | |
While Ethany has this to say. | 1:39:13 | 1:39:15 | |
'..the plane travelling to Rome | 1:39:17 | 1:39:19 | |
'is definitely a Romanian air transport aircraft. | 1:39:19 | 1:39:22 | |
'This is because the film was shot in Romania.' | 1:39:22 | 1:39:24 | |
Thank you so much, Ethany, we all really enjoyed your letter | 1:39:25 | 1:39:28 | |
and you've won our letter of the week. | 1:39:28 | 1:39:30 | |
Your prize is this model of a Sopwith Concord. | 1:39:30 | 1:39:33 | |
Which we'll send to you via airmail. | 1:39:34 | 1:39:37 | |
Have a word with your sister, though, her letter was rubbish. | 1:39:37 | 1:39:40 | |
In fact, you might want to cut her out of your life, | 1:39:40 | 1:39:43 | |
she seems like dead weight. | 1:39:43 | 1:39:44 | |
Join us again next week on Pointless View | 1:39:44 | 1:39:47 | |
when I will be joined for a panel discussion | 1:39:47 | 1:39:49 | |
by Richard Dawkins, Germaine Greer and the Great Soprendo. | 1:39:49 | 1:39:52 | |
What would we do without crime? | 1:39:57 | 1:39:59 | |
Eh? If we didn't have crime, the Godfather films would be | 1:39:59 | 1:40:02 | |
about a series of christenings, Sexy Beast would be just two hours | 1:40:02 | 1:40:06 | |
of shiny cockneys having a lovely holly bobs, and Oceans 11 to 13 | 1:40:06 | 1:40:09 | |
would be a dreary account of too many men making a deposit. | 1:40:09 | 1:40:13 | |
But, luckily, there is crime. | 1:40:13 | 1:40:15 | |
Hurray for crime and all the films that are made about her. | 1:40:15 | 1:40:19 | |
Though, as you'll see, | 1:40:19 | 1:40:21 | |
crime movies are just as guilty of some inexcusable errors. | 1:40:21 | 1:40:25 | |
This is Drive, a soulless film | 1:40:25 | 1:40:27 | |
about a character called the driver, who does driving... | 1:40:27 | 1:40:30 | |
And crimes. | 1:40:30 | 1:40:32 | |
Here, the driver nudges a car off the cliff, the rotter. | 1:40:33 | 1:40:37 | |
But although he hits the door... | 1:40:38 | 1:40:40 | |
..it's the bumper that gets crumpled. | 1:40:42 | 1:40:44 | |
Which is going to play havoc with the no-claims bonus. | 1:40:44 | 1:40:47 | |
Now for the dullest Transformer ever. | 1:40:50 | 1:40:52 | |
A kind of Optimus Sub-Prime. | 1:40:52 | 1:40:54 | |
The car that beeps at Ryan and Carey is clearly a silver Ford Focus. | 1:40:58 | 1:41:02 | |
But as it passes, it's equally clearly a blue Toyota. | 1:41:02 | 1:41:05 | |
Transformers, Toyota Corollas in disguise. | 1:41:07 | 1:41:09 | |
Sometimes in films it's necessary to flip the shot, | 1:41:14 | 1:41:17 | |
for example if an actor has put his face on the wrong way round | 1:41:17 | 1:41:20 | |
or is frowning instead of smiling. | 1:41:20 | 1:41:23 | |
But, hey, Drive film-makers, if you are going to flip the shot try to | 1:41:23 | 1:41:27 | |
do it when there's not lots of big writing on screen, yeah? | 1:41:27 | 1:41:30 | |
We have a bit of an underwear problem | 1:41:33 | 1:41:35 | |
in the moderately entertaining Man On A Ledge. | 1:41:35 | 1:41:38 | |
Joey is wearing his green undies | 1:41:38 | 1:41:40 | |
above his jeans because he is one of "da yoot". | 1:41:40 | 1:41:43 | |
But in the very same sequence they go all black. | 1:41:43 | 1:41:46 | |
This is why they normally don't let actors wear their own pants. | 1:41:46 | 1:41:50 | |
Robert De Niro is, of course, a follower of the Method School | 1:41:53 | 1:41:56 | |
developed by Lee Strasberg from the teachings of Stanislavsky. | 1:41:56 | 1:41:59 | |
Whereas Jason Statham supports Chelsea. | 1:42:01 | 1:42:04 | |
-What you doing? -I'm going to get my watch back. | 1:42:04 | 1:42:07 | |
This is the pacey but basic action movie Killer Elite. | 1:42:07 | 1:42:10 | |
De Niro's training is in evidence here as simply can't decide whether | 1:42:12 | 1:42:16 | |
his character would wear his watch in his back pocket | 1:42:16 | 1:42:19 | |
or on his wrist. | 1:42:19 | 1:42:20 | |
Jason now peevishly kicks a slat from the chair he's tied to | 1:42:26 | 1:42:30 | |
but such is his kinship with all things wooden, | 1:42:30 | 1:42:32 | |
he's repaired it by next time we see it. | 1:42:32 | 1:42:35 | |
Hi. It's me, Robert Webb. | 1:42:36 | 1:42:38 | |
I'm glad you could make it. | 1:42:38 | 1:42:40 | |
What's your name? | 1:42:40 | 1:42:41 | |
What a funny name. What a very funny name. | 1:42:44 | 1:42:48 | |
Would you like some wine? | 1:42:48 | 1:42:49 | |
Cheers. | 1:42:59 | 1:43:01 | |
-Cut. -You've just caught me making one of my new range of DVDs. | 1:43:04 | 1:43:08 | |
This one is like an interactive date. You know, | 1:43:08 | 1:43:11 | |
for lonely people who have basically given up. | 1:43:11 | 1:43:13 | |
But before they give up, they tend to go out on actual dates | 1:43:13 | 1:43:16 | |
to watch romantic movies. | 1:43:16 | 1:43:18 | |
It's the perfect opportunity to see incredibly attractive people | 1:43:18 | 1:43:21 | |
get up to all sorts of shenanigans on the bumpy road to love, | 1:43:21 | 1:43:24 | |
giving them magical memories to cry over later, alone. | 1:43:24 | 1:43:27 | |
And action! | 1:43:28 | 1:43:30 | |
Have you done something with your hair | 1:43:31 | 1:43:33 | |
if you're a woman or trousers if you're a man? | 1:43:33 | 1:43:36 | |
Fancy a bonk? | 1:43:37 | 1:43:38 | |
Turgid bit of fluff Friends With Benefits now, | 1:43:40 | 1:43:43 | |
and this scene's designed to show us how fun this lady character is. | 1:43:43 | 1:43:47 | |
She outrageously draws on his face. | 1:43:49 | 1:43:52 | |
But here the marks have gone! | 1:43:52 | 1:43:55 | |
However, in the reflection, | 1:43:55 | 1:43:57 | |
there they are! | 1:43:57 | 1:43:59 | |
The marks are on his face. He bears the mark! | 1:43:59 | 1:44:01 | |
Ugh, tidying up, eh? It never ends. | 1:44:04 | 1:44:07 | |
That's what Justin Timberlake would be thinking about | 1:44:07 | 1:44:10 | |
if he weren't so focused on Mila Kunis's bottom. | 1:44:10 | 1:44:13 | |
Because no sooner has she taken out the rubbish from in front | 1:44:13 | 1:44:16 | |
of the sofa, than it appears again! | 1:44:16 | 1:44:19 | |
Chores. Huh! What are they good for? | 1:44:19 | 1:44:22 | |
-What? -Let's have sex like we're playing tennis. | 1:44:22 | 1:44:25 | |
Jacob is sending a text message to Sam in Anna's kitchen. | 1:44:27 | 1:44:31 | |
Upon being questioned who he is texting, | 1:44:31 | 1:44:34 | |
he puts his phone down in front of the laptop computer and goes. | 1:44:34 | 1:44:37 | |
This is twinkly-sunlight, wistful Handycam, John-Lewis-ad-style, | 1:44:44 | 1:44:48 | |
lower-sixth, romance film Like Crazy, and as you can guess, | 1:44:48 | 1:44:51 | |
I'm filling time until the bit where Anna goes to check, and the | 1:44:51 | 1:44:54 | |
phone has changed its position to the side of the computer instead. | 1:44:54 | 1:44:58 | |
Some heartfelt acting, from a suitcase acting | 1:45:01 | 1:45:04 | |
as, refusing to be outshone by these two moppets, | 1:45:04 | 1:45:07 | |
it moves to his left. | 1:45:07 | 1:45:08 | |
I mean, guys, it's a pretty big suitcase. Why aren't they moving it? | 1:45:11 | 1:45:15 | |
I think I know why. | 1:45:15 | 1:45:16 | |
It casts no reflection in the window in the shots of her. | 1:45:16 | 1:45:19 | |
Perhaps it is a vampire suitcase... | 1:45:19 | 1:45:21 | |
It's the sentimental and weepy One Day, and Emma can't make up | 1:45:26 | 1:45:31 | |
her mind about her wine. | 1:45:31 | 1:45:33 | |
She turns to get a glass | 1:45:33 | 1:45:35 | |
but in the next shot she doesn't have the bottle | 1:45:35 | 1:45:38 | |
and goes to take it again. | 1:45:38 | 1:45:40 | |
She pours it out and puts the bottle on her right | 1:45:40 | 1:45:42 | |
and now it's on her left. | 1:45:42 | 1:45:44 | |
And she does a terrible accent but we'll spare you that madness. | 1:45:44 | 1:45:47 | |
Warning, do not take laughing gas. | 1:45:50 | 1:45:52 | |
Do not behave like these Scottish folk | 1:45:52 | 1:45:55 | |
from the dystopian and bleak Perfect Sense. | 1:45:55 | 1:45:57 | |
And if you don't heed my advice, | 1:45:57 | 1:45:59 | |
don't be weird and make the canister jump from James's hand | 1:45:59 | 1:46:02 | |
to Michael's. | 1:46:02 | 1:46:04 | |
You know when a film is about castles | 1:46:05 | 1:46:07 | |
and nights or Jesuses or Vikings or all of those? | 1:46:07 | 1:46:10 | |
Well, they didn't film them back then because they couldn't, | 1:46:10 | 1:46:13 | |
because long ago, people were stupid and couldn't plug things in. | 1:46:13 | 1:46:16 | |
But the problem with filming historical items is that | 1:46:16 | 1:46:19 | |
things that have no business being on screen sometimes turn up - | 1:46:19 | 1:46:22 | |
like mobile phones, digital watches or Danny Dyer. | 1:46:22 | 1:46:25 | |
Here's a selection of some of the most prominent | 1:46:25 | 1:46:28 | |
anachronisms of the year. | 1:46:28 | 1:46:29 | |
I'm actually wearing an anachronism right now. | 1:46:29 | 1:46:32 | |
I'm sure you've spotted it. Yes, that's right. | 1:46:32 | 1:46:34 | |
This shirt is from 2035. | 1:46:34 | 1:46:37 | |
More from Jason Mark-Of-Quality Statham here in Killer Elite. | 1:46:37 | 1:46:41 | |
Yeah, me neither. | 1:46:41 | 1:46:43 | |
In this thrill-packed scene set in 1980, | 1:46:43 | 1:46:46 | |
we can see a Superdry logo on his coat, | 1:46:46 | 1:46:48 | |
when in fact lads-mag readers didn't wander around | 1:46:48 | 1:46:51 | |
with that written all over them until the brand was founded in 2003. | 1:46:51 | 1:46:56 | |
Just have to slow him down, won't we? | 1:46:56 | 1:46:58 | |
Guy Ritchie will kick himself over this one. | 1:47:00 | 1:47:03 | |
In his naff Sherlock Holmes movie, | 1:47:03 | 1:47:06 | |
Moriarty listens to Schubert on his phonograph. | 1:47:06 | 1:47:08 | |
MUSIC PLAYS | 1:47:08 | 1:47:10 | |
When, as we know, in 1891, | 1:47:10 | 1:47:12 | |
Schubert's work was only available on download. | 1:47:12 | 1:47:15 | |
No, hang on a minute, that's not right. | 1:47:15 | 1:47:18 | |
But that type of record wasn't introduced until the 20th century. | 1:47:18 | 1:47:23 | |
This fish, you cannot cheat. | 1:47:23 | 1:47:25 | |
Underwhelming remake The Thing now. | 1:47:27 | 1:47:30 | |
So, what's wrong with this troubling scene, do you think, | 1:47:31 | 1:47:34 | |
off the top of your head? | 1:47:34 | 1:47:35 | |
That's right, it's what's on top of her head - moulded | 1:47:36 | 1:47:39 | |
plastic headphones weren't available in 1982 when this scene is set. | 1:47:39 | 1:47:43 | |
Other proof that this isn't from 1982 is that nobody is | 1:47:43 | 1:47:47 | |
playing Simon or eating Ice Magic. | 1:47:47 | 1:47:49 | |
In this clip from the brilliant War Horse, we see our hero, | 1:47:53 | 1:47:57 | |
the war horse, busy being a horse in a war. | 1:47:57 | 1:47:59 | |
See as he gallops magnificently down a long, straight trench. | 1:47:59 | 1:48:03 | |
Problem is, trenches were built in zigzags | 1:48:04 | 1:48:06 | |
so enemy interlopers couldn't just pick off everyone with a few shots. | 1:48:06 | 1:48:10 | |
I'd go and see the stage version instead. It's got massive puppets. | 1:48:11 | 1:48:15 | |
An adventure begins. | 1:48:22 | 1:48:24 | |
We Bought A Zoo is set way back in June 2010. | 1:48:24 | 1:48:27 | |
It's a formulaic and nauseating film | 1:48:27 | 1:48:29 | |
about how some people open a zoo. | 1:48:29 | 1:48:31 | |
And about how Matt Damon invents a time machine. | 1:48:32 | 1:48:35 | |
Because the house listings he's following here | 1:48:35 | 1:48:38 | |
are from January 2011. | 1:48:38 | 1:48:39 | |
And later on he refers to his daughter as being... | 1:48:40 | 1:48:43 | |
I can't even find you, you're like a Chilean miner. | 1:48:43 | 1:48:46 | |
..when the mine didn't collapse until August that year. | 1:48:46 | 1:48:49 | |
Call the miners, you could have warned them, prescient Matt Damon! | 1:48:49 | 1:48:53 | |
You know, we're a forgiving bunch here at GMMIV, | 1:48:53 | 1:48:56 | |
and there's nothing we like better than seeing a mistake unmade. | 1:48:56 | 1:48:59 | |
That's why we're thrilled that next year there's a whole crop | 1:48:59 | 1:49:02 | |
of films which are going to be remade, re-released or done in 3-D. | 1:49:02 | 1:49:06 | |
Let's hope they do it right this time, | 1:49:06 | 1:49:08 | |
not like these original doofs. | 1:49:08 | 1:49:10 | |
Groundbreaking thrill-athon Jurassic Park | 1:49:10 | 1:49:14 | |
is released in 3-D next year, | 1:49:14 | 1:49:15 | |
and this scene of flocking dinosaurs will look amazing. | 1:49:15 | 1:49:19 | |
Can I say "flocking" pre-watershed? | 1:49:19 | 1:49:21 | |
Anyway, watch as they run past the kids, | 1:49:21 | 1:49:24 | |
only to disappear in the next shot as they turn and run away. | 1:49:24 | 1:49:27 | |
Dinosaurs are big and dangerous, yes? | 1:49:30 | 1:49:32 | |
They might escape, so you need a strong fence around the perimeter. | 1:49:32 | 1:49:36 | |
All the way round, no gaps. | 1:49:36 | 1:49:37 | |
Not like that massive one to the left of the gate. | 1:49:37 | 1:49:40 | |
Oh, my God, dinosaurs! We're all going to die. | 1:49:40 | 1:49:44 | |
Independence Day is getting a shiny new stereoscopic makeover in 2013, | 1:49:54 | 1:49:58 | |
and let's hope it's a better special edition than the dreadful | 1:49:58 | 1:50:01 | |
full-screen DVD release which revealed some astonishing clunkers. | 1:50:01 | 1:50:05 | |
When under attack from 15-mile high flying saucers, | 1:50:06 | 1:50:09 | |
what's the best thing to do? | 1:50:09 | 1:50:10 | |
Run for cover, arm yourself, stick your head between your legs, | 1:50:10 | 1:50:14 | |
wet yourself... Don't do those last two at the same time, by the way. | 1:50:14 | 1:50:18 | |
Well, these Washington sightseers opt to keep calm and carry on, | 1:50:18 | 1:50:22 | |
milling about and taking photos before the White House | 1:50:22 | 1:50:25 | |
is blown to smithereens. | 1:50:25 | 1:50:26 | |
-The fools! -Now what do we do? | 1:50:26 | 1:50:29 | |
Of course, being the official residence of the leader | 1:50:31 | 1:50:34 | |
of the free world, security in the White House is second to none. | 1:50:34 | 1:50:37 | |
But no missile defence strategy could catch this intruder, | 1:50:39 | 1:50:43 | |
who flummoxed them all by crawling on his hands and knees. Clever. | 1:50:43 | 1:50:47 | |
A new version of Robocop is coming in, well, 2014, but will | 1:50:53 | 1:50:58 | |
they solve the big mystery of the very satirical and violent original? | 1:50:58 | 1:51:02 | |
Pay attention to Robocop's chin strap. | 1:51:02 | 1:51:05 | |
As when he removes his helmet, where's my chinstrap? | 1:51:10 | 1:51:14 | |
He's a chinstrap-less wonder. | 1:51:14 | 1:51:15 | |
Perhaps 2013's Man Of Steel can match the awesomeness | 1:51:20 | 1:51:24 | |
of the best Superman movie, Superman II. | 1:51:24 | 1:51:27 | |
This is my favourite bit. | 1:51:27 | 1:51:29 | |
Where Non throws Daily Planet editor Perry White about. | 1:51:29 | 1:51:32 | |
He's terrified. | 1:51:32 | 1:51:34 | |
Thankfully, a kindly crewmember on the right of the screen | 1:51:34 | 1:51:37 | |
is there to hold his hand. Bless. | 1:51:37 | 1:51:39 | |
There's so much back patting that goes on in the film industry | 1:51:41 | 1:51:44 | |
that many execs are now forced to wear reinforced blazers. | 1:51:44 | 1:51:47 | |
Much of this incestuous congratulating goes on | 1:51:47 | 1:51:50 | |
in the award ceremonies, which are countless. | 1:51:50 | 1:51:52 | |
Unless you count them. | 1:51:52 | 1:51:53 | |
In which case there are about 200 year. | 1:51:53 | 1:51:55 | |
Well, this year there are 201, as we are about to enter our final section | 1:51:55 | 1:52:00 | |
of the night, and present | 1:52:00 | 1:52:01 | |
the Most Mistakes In One Scene Award For 2012. | 1:52:01 | 1:52:05 | |
Or, MMIOS Twe-Twe, as I like to call them. Here are the nominations. | 1:52:05 | 1:52:10 | |
I should have an envelope. Could someone get me an envelope? | 1:52:10 | 1:52:13 | |
NB, a glittery one. Thanks. | 1:52:13 | 1:52:16 | |
Here's the punningly titled | 1:52:19 | 1:52:21 | |
but sadly made Alvin And The Chipmunks: Chipwrecked. | 1:52:21 | 1:52:25 | |
Here are two kids in blue watching the monk-dancing. | 1:52:25 | 1:52:27 | |
And then piff-paff-poof, they're gone. | 1:52:29 | 1:52:31 | |
And if that's not enough, | 1:52:31 | 1:52:33 | |
celebrity Scientologist Jason Lee pushes past yellow polo shirt guy... | 1:52:33 | 1:52:37 | |
..and then pushes past him again. And now the girls are back... | 1:52:40 | 1:52:43 | |
..only for one of them to be replaced. | 1:52:44 | 1:52:47 | |
What a load of chip. Four mistakes. | 1:52:47 | 1:52:50 | |
Next up, The Inbetweeners Movie, | 1:52:55 | 1:52:56 | |
and it's a busy time for wrong background artists. | 1:52:56 | 1:52:59 | |
When Jay and Si are fighting, | 1:52:59 | 1:53:01 | |
an extra in a red cap appears behind Will's right shoulder. | 1:53:01 | 1:53:05 | |
I shall call him Leopold. | 1:53:05 | 1:53:07 | |
Leopold then mysteriously keeps shifting positions between shots. | 1:53:07 | 1:53:11 | |
All right, come on, you two. | 1:53:14 | 1:53:15 | |
I'm sick of his BLEEP. I'm going to BLEEP do him! | 1:53:18 | 1:53:21 | |
Oh, you're hard, Si(!) I didn't see you do me just now. | 1:53:21 | 1:53:24 | |
-Let's go for walk! -Don't cry, Si. | 1:53:24 | 1:53:26 | |
Then a couple with a male carrying a beach towel over his shoulder | 1:53:26 | 1:53:29 | |
walk past and over to the right side of the road. | 1:53:29 | 1:53:32 | |
Then there's a cut, | 1:53:32 | 1:53:33 | |
and the couple are walking to the right side of the road again. | 1:53:33 | 1:53:36 | |
Meanwhile, after the fight, Jay walks away | 1:53:38 | 1:53:40 | |
and kicks a nearby metal bench. | 1:53:40 | 1:53:42 | |
The bench is empty when he kicks it. | 1:53:42 | 1:53:44 | |
But in the wide shot, it's only Leopold sitting there again. | 1:53:44 | 1:53:48 | |
Five mistakes. Thanks, The Leopold Movie! | 1:53:48 | 1:53:51 | |
And the award goes to... | 1:53:52 | 1:53:54 | |
That is not what I asked for. | 1:53:56 | 1:53:58 | |
And the award goes to... | 1:54:01 | 1:54:03 | |
this astounding mistake-filled scene from Men In Black III. | 1:54:03 | 1:54:07 | |
Here, Griffin talks about the Mets baseball team. | 1:54:07 | 1:54:10 | |
..The World Series, they were in last place every single season | 1:54:10 | 1:54:13 | |
-until they... -Wrong. | 1:54:13 | 1:54:15 | |
In 1968, the Mets were second to last in the World Series. | 1:54:15 | 1:54:18 | |
Now look at his hands. | 1:54:20 | 1:54:22 | |
They've gone. | 1:54:22 | 1:54:24 | |
This packet is especially odd. A big box one second... | 1:54:24 | 1:54:28 | |
And the next it shrinks to tiny sized. | 1:54:31 | 1:54:33 | |
You're not going to fit many crackers in that. | 1:54:33 | 1:54:36 | |
But it doesn't end there, oh no. This could be a record, viewers. | 1:54:36 | 1:54:40 | |
Now, more hand trouble. | 1:54:40 | 1:54:43 | |
Here they're back. | 1:54:43 | 1:54:44 | |
Now they're gone. | 1:54:44 | 1:54:45 | |
And as the final coup de grace, | 1:54:47 | 1:54:49 | |
Griffin's arms are now interlocked with J and K's. | 1:54:49 | 1:54:53 | |
Men In Black 3, movie mistakes, six. | 1:54:53 | 1:54:55 | |
Congratulations. | 1:54:55 | 1:54:57 | |
I lost my planet. | 1:54:57 | 1:54:59 | |
So, there you have it. | 1:54:59 | 1:55:00 | |
Once again, moviemakers have spent the year cramming their films | 1:55:00 | 1:55:04 | |
with moments as wrong and yet as entertaining as a chocolate bus. | 1:55:04 | 1:55:08 | |
I hope you've enjoyed watching them as much as we've enjoyed finding them. | 1:55:08 | 1:55:11 | |
Actually, wait, I hope you've enjoyed it | 1:55:11 | 1:55:13 | |
a lot more than that, because it's actually quite time-consuming. | 1:55:13 | 1:55:17 | |
Anyway, thanks for watching, | 1:55:17 | 1:55:19 | |
this has been Grand Moving Mishaps 5, and I've been Keith Lemon. | 1:55:19 | 1:55:23 | |
Hello. | 1:55:23 | 1:55:24 | |
Subtitles by Red Bee Media Ltd | 1:55:40 | 1:55:44 |