Browse content similar to Episode 2. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Hello, you. And welcome to Great Movie Mistakes, | 0:00:25 | 0:00:28 | |
the show that uncovers the blunders that the world's top directors hoped you would never see. | 0:00:28 | 0:00:33 | |
Over the next 60 minutes, we're going to be bringing you | 0:00:33 | 0:00:36 | |
the cinematic howlers from some of the best movies ever made, | 0:00:36 | 0:00:39 | |
plus, a few from The Fast And The Furious(!) | 0:00:39 | 0:00:42 | |
So, all you highly-paid directors, cover your eyes. | 0:00:43 | 0:00:46 | |
And the rest of you, don't! | 0:00:46 | 0:00:48 | |
On tonight's show, mistakes from... | 0:00:50 | 0:00:54 | |
Hollywood movie star - 20 million. | 0:01:03 | 0:01:05 | |
Special effects - 15 million. | 0:01:05 | 0:01:08 | |
Marketing and promotion - 9 million. | 0:01:08 | 0:01:11 | |
Finding out that you've spent your entire budget on all that | 0:01:12 | 0:01:15 | |
and haven't got any money left over for props - priceless. | 0:01:15 | 0:01:18 | |
But as this set of clips show, the Blue Peter school of prop-making is alive and well in Tinsel Town. | 0:01:18 | 0:01:25 | |
Gangs of New York. | 0:01:27 | 0:01:29 | |
Life wasn't the same in the 1860s. Cars hadn't been invented, | 0:01:29 | 0:01:34 | |
people spoke differently and rocks were made of sponge. | 0:01:34 | 0:01:37 | |
Don't believe me? | 0:01:37 | 0:01:38 | |
Then watch as the rocks bounce off these cheery bobbies. | 0:01:38 | 0:01:42 | |
Boing! Boing! Boing! Doesn't look too painful to me. | 0:01:42 | 0:01:46 | |
Here's The Matrix Reloaded, and a scene that looks like | 0:01:49 | 0:01:52 | |
Hull town centre at kicking-out time. | 0:01:52 | 0:01:55 | |
But look at Neo's bendy pole. | 0:01:55 | 0:01:57 | |
Neo, if you're going to single-handedly take on | 0:01:57 | 0:02:00 | |
these bad guys, I'd recommend something with a bit less give. | 0:02:00 | 0:02:03 | |
Here's an error from 2007 smash, I Am Legend. | 0:02:06 | 0:02:10 | |
Its main error, other than the fact that | 0:02:10 | 0:02:12 | |
they actually bothered to make it, is coming up right here. | 0:02:12 | 0:02:16 | |
Call this a taxi? You might. | 0:02:19 | 0:02:22 | |
I don't. The underside is quite clearly a flat, painted surface. | 0:02:22 | 0:02:26 | |
The underside of taxis don't look like that, | 0:02:26 | 0:02:29 | |
as anyone who has been wedged underneath one while waiting for an ambulance will know full well. | 0:02:29 | 0:02:34 | |
Now comic book caper, Spider-Man, | 0:02:38 | 0:02:42 | |
in which these two Lycra-clad men have a fight to decide who's the campest guy in town. | 0:02:42 | 0:02:47 | |
Spidey shoves Goblin against a solid brick wall and, look, it wobbles. | 0:02:49 | 0:02:53 | |
It's not the Goblin you should be punching, it's your set designer. | 0:02:56 | 0:03:01 | |
Ghost Town now, and Ricky Gervais' first big Hollywood film. | 0:03:04 | 0:03:08 | |
He plays Bertram Pincus, | 0:03:08 | 0:03:09 | |
a man who has the annoying ability to see ghosts. | 0:03:09 | 0:03:13 | |
But what annoys me is the puerile errors like this. | 0:03:13 | 0:03:16 | |
The medicine bottle here says one tablet a day, but what's this? | 0:03:16 | 0:03:20 | |
There's quite clearly liquid in the bottle. The fools! | 0:03:20 | 0:03:24 | |
For those of you who've never shot a dog with a gun, | 0:03:28 | 0:03:30 | |
take it from someone who knows. | 0:03:30 | 0:03:33 | |
This prop of a dead dog from Oscar-winning No Country For Old Men isn't the most realistic. | 0:03:33 | 0:03:40 | |
I've made better ones from an old pillowcase, crayons and gravel. | 0:03:40 | 0:03:44 | |
In the film Spider-Man, Peter Parker gains his powers because he's bitten by a spider, | 0:03:48 | 0:03:54 | |
which apparently is a realistic way of conferring abilities. A similar thing happened to me. | 0:03:54 | 0:03:59 | |
I was also recently bitten by a spider, but all it gave me were the powers of a 37-year-old man. | 0:03:59 | 0:04:04 | |
And not a very good one. As well as the onset of nasal hair and a faint midlife crisis, | 0:04:04 | 0:04:09 | |
it's given me the powers to pick out continuity errors in films. | 0:04:09 | 0:04:13 | |
Like so. | 0:04:13 | 0:04:15 | |
In this scene, Peter Parker shoots a web and smashes his lamp up | 0:04:19 | 0:04:23 | |
like some arachnid vandal. | 0:04:23 | 0:04:25 | |
< Peter? | 0:04:26 | 0:04:27 | |
-His busybody aunt comes to check. on him. -What's going on in there? | 0:04:27 | 0:04:31 | |
And embarrassed by the state of his teenage bedroom, he refuses to let her in. | 0:04:31 | 0:04:35 | |
-You're acting so strangely, Peter. -OK, thanks. | 0:04:35 | 0:04:39 | |
But when she leaves, the lamp is back where it started. | 0:04:39 | 0:04:44 | |
That mars an otherwise perfectly believable film. | 0:04:44 | 0:04:47 | |
If you're deeply unpopular at school, | 0:04:49 | 0:04:51 | |
like Peter Parker, something you should probably avoid doing | 0:04:51 | 0:04:55 | |
is throwing food all over the school bully. | 0:04:55 | 0:04:57 | |
Whoops! | 0:04:59 | 0:05:02 | |
But that school dinner clearly splatters over Flash's left shoulder. | 0:05:02 | 0:05:06 | |
-Yet when we see him again, it's on his right shoulder. -Parker? | 0:05:10 | 0:05:14 | |
Amazing. | 0:05:16 | 0:05:18 | |
Harry! > | 0:05:20 | 0:05:21 | |
We're about to see an extra that loves Peter Parker so much, | 0:05:21 | 0:05:26 | |
it's disturbing. Look how much she's hanging around. | 0:05:26 | 0:05:29 | |
She walks past there... | 0:05:29 | 0:05:32 | |
Harry says you're a science whizz. I'm something of a scientist myself. | 0:05:32 | 0:05:36 | |
I read all your research on nanotechnology. | 0:05:36 | 0:05:38 | |
..and there... | 0:05:38 | 0:05:40 | |
-Yes, I wrote a paper on it. -Impressive. | 0:05:40 | 0:05:43 | |
..and there...and there. | 0:05:43 | 0:05:48 | |
Thank God she's gone. I was beginning to worry for Peter's safety. | 0:05:49 | 0:05:53 | |
No, there she is! Deeply sinister extra. | 0:05:57 | 0:06:00 | |
She belongs in a secure ward for stalking behaviour. | 0:06:00 | 0:06:03 | |
Here's Peter Parker and MJ, | 0:06:05 | 0:06:08 | |
the two thinnest-lipped individuals on the planet. | 0:06:08 | 0:06:11 | |
Look at their mouths - like two pairs of fleshy razor blades. | 0:06:12 | 0:06:16 | |
Thankfully, they don't attempt to kiss. It would be a bloodbath. | 0:06:16 | 0:06:19 | |
But here's an error nearly as horrendous. | 0:06:19 | 0:06:22 | |
The same car goes past with the same driver on two occasions. Once there. | 0:06:24 | 0:06:30 | |
And, wait for it... Once more. | 0:06:32 | 0:06:35 | |
Coincidence? Or are the skinny-lipped stars | 0:06:35 | 0:06:38 | |
chatting in the middle of a tiny roundabout? You decide. | 0:06:38 | 0:06:42 | |
Here's Peter Parker confronting Uncle Ben's killer in a warehouse. | 0:06:46 | 0:06:51 | |
If by confronting you mean kicking seven bells out of. | 0:06:51 | 0:06:55 | |
After he's thrown back, he drops the gun and grabs a knife. | 0:06:56 | 0:07:00 | |
See, no gun. But when Peter kicks him up against the wall, he's holding it again. | 0:07:02 | 0:07:07 | |
A mistake, or a visual metaphor for the hopelessness of ending gun crime? | 0:07:07 | 0:07:10 | |
Food for thought, certainly. | 0:07:10 | 0:07:13 | |
Here's Spidey and MJ swinging through New York | 0:07:17 | 0:07:20 | |
like some sort of urban Tarzan and Jane. | 0:07:20 | 0:07:22 | |
No wonder MJ loves him. But hang on... | 0:07:22 | 0:07:26 | |
..that's clearly a lifeless mannequin. | 0:07:29 | 0:07:31 | |
Look, OK, maybe mannequins dressed in Lycra are her thing. Kinky. | 0:07:31 | 0:07:35 | |
We all know that newspapers never make mistakes. | 0:07:38 | 0:07:42 | |
So how do we explain this? | 0:07:42 | 0:07:44 | |
In the left column, there's a quote from police spokesman John Young, | 0:07:44 | 0:07:48 | |
"We've heard of Good Samaritans, | 0:07:48 | 0:07:49 | |
"but in 20 years, I've never seen anything like this." | 0:07:49 | 0:07:52 | |
And then, on the right, he says it again. | 0:07:52 | 0:07:55 | |
"We've heard of Good Samaritans, | 0:07:55 | 0:07:57 | |
"but in 20 years, I've never seen anything like this." | 0:07:57 | 0:07:59 | |
I don't know what to say about that, I really don't. | 0:07:59 | 0:08:02 | |
Although I have a fair idea of what John Young would say. | 0:08:02 | 0:08:04 | |
Here's a tip. Never play cards | 0:08:09 | 0:08:11 | |
with James Jameson, the editor of the Daily Bugle. | 0:08:11 | 0:08:14 | |
Check out his sleight of hand. | 0:08:14 | 0:08:16 | |
Watch the third picture. Got it? | 0:08:19 | 0:08:21 | |
Now see what happens when he puts it down. | 0:08:21 | 0:08:23 | |
It's a different picture. Who's the real superhero in this film? | 0:08:23 | 0:08:28 | |
As we enjoy Spidey having a tear up with these bad guys - | 0:08:31 | 0:08:35 | |
ooh, take that! | 0:08:35 | 0:08:37 | |
And that! - keep your eyes on the windows behind MJ, | 0:08:37 | 0:08:41 | |
which get smashed as these baddies go through them. | 0:08:41 | 0:08:44 | |
But a few seconds later, they've repaired themselves. | 0:08:44 | 0:08:47 | |
Let's look again. | 0:08:48 | 0:08:51 | |
Smashed here. | 0:08:51 | 0:08:53 | |
Fixed here. | 0:08:56 | 0:08:57 | |
It's a miracle. | 0:08:58 | 0:09:00 | |
If you think they were bad, check out this next set of goof ups | 0:09:02 | 0:09:05 | |
from the second and third Spider-man films. | 0:09:05 | 0:09:08 | |
I was going to make some joke about there being more information | 0:09:08 | 0:09:11 | |
about these clips on "the Web", but that would be rubbish! | 0:09:11 | 0:09:14 | |
Here's Peter being rescued by an infant. | 0:09:18 | 0:09:21 | |
But what's this under her jim-jams? | 0:09:21 | 0:09:23 | |
Looks like kneepads to me - the only sure fire way to stop anyone | 0:09:23 | 0:09:27 | |
kneecapping you as you sleep. Clever girl. | 0:09:27 | 0:09:30 | |
# They say that falling in love is wonderful... # | 0:09:33 | 0:09:39 | |
In this one from Spidey 3, I defy you not to be annoyed by the way Peter Parker sings along. | 0:09:39 | 0:09:44 | |
That aside, notice how you can hear applause, but you can't see anyone clapping. | 0:09:45 | 0:09:50 | |
-APPLAUSE -That's my girlfriend. | 0:09:50 | 0:09:51 | |
How does that work? | 0:09:51 | 0:09:53 | |
Hollywood film makers are often high school drop outs. And it shows. | 0:09:55 | 0:09:59 | |
The names of the Batman sequels - Batman Returns, Batman Forever and Batman and Robin - | 0:09:59 | 0:10:04 | |
weren't chosen for sounding good, but because the director didn't know how to count to four. | 0:10:04 | 0:10:09 | |
Similarly, Tarantino's title, Inglourious Basterds, | 0:10:09 | 0:10:12 | |
was a genuine spelling mistake that Quentin now has to pretend was clever and intentional. | 0:10:12 | 0:10:17 | |
These people are imbeciles, or imbreciles, as Tarantino would probably say. | 0:10:17 | 0:10:22 | |
Just check out these schoolboy errors. | 0:10:22 | 0:10:24 | |
How To Lose A Guy In 10 Days. First scene and there's a mistake. | 0:10:26 | 0:10:30 | |
Look how they've spelt lose. | 0:10:30 | 0:10:33 | |
What makes this especially galling is that the same word appears in the title of the film. Divs. | 0:10:33 | 0:10:39 | |
More problems with spelling now in Blades Of Glory. | 0:10:42 | 0:10:46 | |
The guy doing the talking is the commissioner. | 0:10:46 | 0:10:48 | |
Yet his name badge has commissioner spelt with only one S. | 0:10:48 | 0:10:52 | |
Yet another movie brought to its knees by the power of words. | 0:10:52 | 0:10:58 | |
They said I was a valued customer. Now they send me hate mail. | 0:11:02 | 0:11:06 | |
The boffins behind Confessions Of A Shopaholic | 0:11:06 | 0:11:09 | |
are so clever, they've given us a number we didn't know existed. | 0:11:09 | 0:11:13 | |
How are you going to pay off 16,000,1262 dollars and 70 cents? | 0:11:13 | 0:11:19 | |
Er... 16,000,1200? | 0:11:19 | 0:11:23 | |
I like this clip so much, I've watched it 800,6000 times. | 0:11:23 | 0:11:28 | |
There again, we Brits are no better. | 0:11:30 | 0:11:33 | |
Look at the side of this bus - the word Cheltenham is missing an N. | 0:11:33 | 0:11:37 | |
And when people miss out Ns, it makes me very, very angry. | 0:11:37 | 0:11:41 | |
Thanks. | 0:11:41 | 0:11:43 | |
This clip is of John Nash winning a Nobel prize | 0:11:49 | 0:11:51 | |
in the film A Beautiful Mind. | 0:11:51 | 0:11:53 | |
But look, they can't even spell Nobel properly. | 0:11:53 | 0:11:57 | |
Oh, boy. | 0:11:57 | 0:11:59 | |
Not good, ladies and gentlemen. Not good. | 0:11:59 | 0:12:02 | |
And check this spelling mistake from the film Cadillac Records. | 0:12:07 | 0:12:11 | |
At number four is Love Is A Many Splendored Thing. | 0:12:11 | 0:12:14 | |
But they've missed out the L from the word "splendored". | 0:12:14 | 0:12:18 | |
Proof, as if it were needed, that things weren't better in the old days. | 0:12:18 | 0:12:21 | |
Although, teenage pregnancy rates were lower. | 0:12:21 | 0:12:24 | |
As well as being highly entertaining, | 0:12:28 | 0:12:30 | |
this programme aims to be educational. | 0:12:30 | 0:12:32 | |
The Terminator now, and look as he scans this doorman. | 0:12:32 | 0:12:36 | |
The Terminator must have been programmed by an imbecile, | 0:12:37 | 0:12:40 | |
because look how he spells the word "briefs". | 0:12:40 | 0:12:42 | |
I before E, big guy. | 0:12:42 | 0:12:45 | |
Remember this simple rule and you won't go far wrong. | 0:12:45 | 0:12:48 | |
All right, the singing is nothing. | 0:12:50 | 0:12:52 | |
A way to keep my nerves down. It means nothing to me. | 0:12:52 | 0:12:55 | |
But it's not I before E if they follow a C. | 0:12:55 | 0:12:58 | |
Then it's the other way round. | 0:12:58 | 0:13:00 | |
Look how "receiving" is spelt in this clip from High School Musical. | 0:13:00 | 0:13:04 | |
I can't help thinking that if American school kids spent less time singing | 0:13:04 | 0:13:08 | |
and more time on basic literacy, there might be a lot less gun crime. | 0:13:08 | 0:13:12 | |
The Die Hard films give hope to men everywhere. | 0:13:14 | 0:13:19 | |
The fourth instalment in the all-action franchise | 0:13:19 | 0:13:21 | |
came out in 2007, | 0:13:21 | 0:13:23 | |
when Bruce Willis was a geriatric 52 years of age. | 0:13:23 | 0:13:27 | |
Just goes to show, age is just a number. | 0:13:27 | 0:13:30 | |
Sadly, that age was a number Demi Moore didn't like, | 0:13:30 | 0:13:34 | |
which is why she's now holed up with a guy 21 years his junior. | 0:13:34 | 0:13:37 | |
And if that wasn't enough, here are some mistakes | 0:13:37 | 0:13:40 | |
that might make her see Bruce's films in a new light, too. | 0:13:40 | 0:13:43 | |
Sorry, Bruce. | 0:13:43 | 0:13:45 | |
Oh, no. | 0:13:45 | 0:13:48 | |
Here's John McClane sporting a nice white vest, | 0:13:51 | 0:13:54 | |
and very nice he looks, too. | 0:13:54 | 0:13:56 | |
But just a few moments later, as he exits the air vent, it's green. | 0:14:01 | 0:14:06 | |
Every square millimetre of it. | 0:14:06 | 0:14:08 | |
Even the bits that can't possibly have touched the sides. | 0:14:08 | 0:14:11 | |
But as all fashionistas agree, green's the new white. Yeah(!) | 0:14:11 | 0:14:16 | |
Another error here. | 0:14:19 | 0:14:20 | |
Bruce jumps off the roof down on to a lower ledge. | 0:14:22 | 0:14:25 | |
He's got no shoes on, so that must hurt. | 0:14:25 | 0:14:28 | |
But maybe not. They've kindly given him false feet to soften the blow | 0:14:30 | 0:14:34 | |
on his delicate little footy pegs. | 0:14:34 | 0:14:37 | |
Big baby. | 0:14:37 | 0:14:38 | |
You're about annoying to see reporter Thornburg | 0:14:43 | 0:14:45 | |
on a sky phone to WZDC News, | 0:14:45 | 0:14:48 | |
claiming to be putting his life and talent on the line | 0:14:48 | 0:14:51 | |
for humanity and country. Except he's not, is he? | 0:14:51 | 0:14:55 | |
The phone is upside down and you can see the antenna | 0:14:55 | 0:14:57 | |
poking through his fingers. The fraud. | 0:14:57 | 0:15:00 | |
Double your money in this clip. | 0:15:05 | 0:15:06 | |
Oh, dear. | 0:15:06 | 0:15:08 | |
First, McClane gets snared up in traffic, | 0:15:08 | 0:15:10 | |
but now he's cruising along. | 0:15:10 | 0:15:12 | |
Second, he spins the wheel to his left, | 0:15:12 | 0:15:15 | |
but hello, sailor the car swings around to the right. | 0:15:15 | 0:15:18 | |
You've been caught bang to rights, McClane. | 0:15:18 | 0:15:20 | |
Some people are suckers for punishment. | 0:15:22 | 0:15:25 | |
In the case of our next clips, these people were the film lovers | 0:15:25 | 0:15:28 | |
who paid good money to watch 52 year-old Bruce Willis in yet another Die Hard film. | 0:15:28 | 0:15:34 | |
Here's McClane in Live Free or Die Hard, ripping the airbag from a car, | 0:15:38 | 0:15:42 | |
barely caring that it would invalidate the insurance. | 0:15:42 | 0:15:44 | |
Throws it on the road. | 0:15:46 | 0:15:48 | |
Moments later, and no sign of the airbag. | 0:15:48 | 0:15:51 | |
Maybe it's been stolen by mice and turned into a marquee. | 0:15:51 | 0:15:54 | |
John McClane is an all-American guy | 0:15:58 | 0:16:00 | |
who likes nothing better than fighting women. | 0:16:00 | 0:16:03 | |
But he meets his match with assassin Mai Linh. | 0:16:03 | 0:16:06 | |
Like many women, she likes to change her appearance. | 0:16:06 | 0:16:08 | |
First her hair is all messy and she's bleeding as she roundhouses him through the window. | 0:16:08 | 0:16:13 | |
Nice move. | 0:16:13 | 0:16:16 | |
But now the blood has gone and it's a nice, neat ponytail. | 0:16:17 | 0:16:19 | |
I prefer that look. | 0:16:19 | 0:16:21 | |
Now the hair is messy again and the blood's back. | 0:16:22 | 0:16:25 | |
Oh, make up your mind, you beautiful assassin. | 0:16:25 | 0:16:27 | |
Suspension of disbelief... | 0:16:30 | 0:16:34 | |
..is essential in the world of storytelling. | 0:16:36 | 0:16:39 | |
Without it, the whole facade comes crashing down. | 0:16:39 | 0:16:42 | |
However, the mistakes you're about to see trounce our disbelief as soundly as Tinky Winky from | 0:16:42 | 0:16:47 | |
the Teletubbies taking the head of his suit off and announcing, "I'm just an actor in a felt suit. | 0:16:47 | 0:16:53 | |
"We all are, and we hate children." | 0:16:53 | 0:16:55 | |
Watch these. | 0:16:55 | 0:16:57 | |
Charlie's Angels. | 0:17:00 | 0:17:02 | |
This scene features a hair-sniffing pervert | 0:17:02 | 0:17:04 | |
and delicious Angels, Natalie, Dylan and Alex. | 0:17:04 | 0:17:07 | |
But as they make mincemeat out of the weirdo, | 0:17:07 | 0:17:09 | |
Drew Barrymore can clearly be heard shouting "Lucy", | 0:17:09 | 0:17:12 | |
the name of her co-star, Lucy Liu. | 0:17:12 | 0:17:15 | |
Lucy! | 0:17:15 | 0:17:16 | |
-Lugholes at the ready. -Lucy! | 0:17:19 | 0:17:21 | |
How many times did I have to watch the film to get that? | 0:17:21 | 0:17:25 | |
Less than 20. Get in! | 0:17:25 | 0:17:27 | |
It may have been one of the biggest budget films ever when it was made, | 0:17:31 | 0:17:35 | |
but they didn't have much of a budget for replacement cameras. | 0:17:35 | 0:17:38 | |
That must be why a crew member put his hands out to stop this fella falling into the lens. | 0:17:38 | 0:17:42 | |
Let's have another look. Here comes the fall. | 0:17:46 | 0:17:48 | |
And then a pair of hands come out to break the fall. | 0:17:50 | 0:17:52 | |
The camera was unharmed. The actor broke his neck. | 0:17:52 | 0:17:55 | |
A right royal balls-up now, because in this clip from The Queen, | 0:17:57 | 0:18:01 | |
we can see a man's reflection in the window. | 0:18:01 | 0:18:04 | |
Either it's a member of the production team | 0:18:04 | 0:18:06 | |
or she's been followed and is in mortal danger. | 0:18:06 | 0:18:09 | |
But don't worry, because if anyone tried anything, | 0:18:09 | 0:18:12 | |
her corgis would rip their face off and eat it for their tea. | 0:18:12 | 0:18:15 | |
300, and bear in mind that this film is set around 480 BC. | 0:18:19 | 0:18:24 | |
Now, I want to assure you that it wasn't me who spotted this one. | 0:18:24 | 0:18:27 | |
If you look hard enough, you can see that this woman has a bra on. | 0:18:27 | 0:18:31 | |
What a boob - I mean, mistake. | 0:18:31 | 0:18:34 | |
Bruce Almighty now. Supposedly, Bruce and his dog are all alone, | 0:18:37 | 0:18:41 | |
but after a quick Hitler impression, the dog pees on the floor. | 0:18:41 | 0:18:45 | |
But look, you can clearly see the dog handler's hand. | 0:18:45 | 0:18:48 | |
If I was him I'd be keeping my hand well out of the way. | 0:18:48 | 0:18:51 | |
The Other Boleyn Girl now. Henry is about to make sweet love to Mary | 0:18:55 | 0:18:59 | |
for the first time, | 0:18:59 | 0:19:00 | |
but as things get steamy and he whips off his shirt... | 0:19:00 | 0:19:04 | |
Hang about! What's that wire dangling by his armpit? | 0:19:04 | 0:19:07 | |
It's a microphone wire, and I spotted it. | 0:19:07 | 0:19:10 | |
That should mean that I get to make love to her, not him. Surely? | 0:19:10 | 0:19:14 | |
Pineapple Express now, and as all hell breaks loose in this diner, | 0:19:20 | 0:19:24 | |
coffee gets splashed onto the camera. | 0:19:24 | 0:19:27 | |
See, it's smeared the lens. This may be good for movie mistake fans, but not for the cameraman. | 0:19:29 | 0:19:34 | |
He suffered third degree burns to the face. | 0:19:34 | 0:19:37 | |
Thankfully, he wasn't good-looking to start with. | 0:19:37 | 0:19:39 | |
The Fast And The Furious, 2 Fast 2 Furious, | 0:19:41 | 0:19:45 | |
The Fast And The Furious: Tokyo Drift, | 0:19:45 | 0:19:48 | |
and now, Fast And Furious. | 0:19:48 | 0:19:50 | |
Yes, the Fast And Furious franchise is a triumph of imaginative titling and envelope-pushing creativity. | 0:19:50 | 0:19:57 | |
No, it's not! | 0:19:57 | 0:19:58 | |
The first features young people driving cars fast. | 0:19:58 | 0:20:01 | |
The second features young people driving cars fast, | 0:20:01 | 0:20:04 | |
while the third features young people driving cars fast. | 0:20:04 | 0:20:08 | |
In Tokyo. | 0:20:08 | 0:20:09 | |
The final film features young people driving cars. | 0:20:09 | 0:20:13 | |
Fast. Good to see the movie-makers wasting their creative juices | 0:20:13 | 0:20:16 | |
on the important things, instead of correcting these simple errors. | 0:20:16 | 0:20:20 | |
You'll FAST become FURIOUS when you see them... | 0:20:20 | 0:20:24 | |
-HE CHUCKLES -I shouldn't wonder. | 0:20:24 | 0:20:27 | |
I never learned to drive, but my mates tell me | 0:20:30 | 0:20:32 | |
that some cars are so cool | 0:20:32 | 0:20:33 | |
they make your black T-shirt turn into a black vest. | 0:20:33 | 0:20:36 | |
Just watch this. | 0:20:36 | 0:20:38 | |
Dreamboat Vin Diesel driving fast and furious in a white T-shirt. | 0:20:43 | 0:20:47 | |
I would. But now it's turned into a brown shirt. Gone off him now. | 0:20:47 | 0:20:53 | |
And check out this blunder. | 0:20:56 | 0:20:58 | |
As Brian hangs off the side of the lorry, | 0:20:58 | 0:21:00 | |
you can see that he's wearing a safety cable. What a chicken. | 0:21:00 | 0:21:05 | |
But the other guy is also a big girl's blouse, cos he's also wearing a wire. | 0:21:05 | 0:21:09 | |
Guys, you've gone right down in my estimations. | 0:21:09 | 0:21:11 | |
Crashing your car isn't the most pleasant experience, | 0:21:17 | 0:21:20 | |
but it helps if you're Vin Diesel, because when he crashes and flies through the air, | 0:21:20 | 0:21:24 | |
his head becomes miraculously encased in a safety helmet. | 0:21:24 | 0:21:27 | |
Watch again. | 0:21:27 | 0:21:28 | |
Yes, his bald bonce has turned into a helmet. Nifty trick, Mr Diesel. | 0:21:32 | 0:21:36 | |
In this clip from The Fast And The Furious: Tokyo Drift, | 0:21:40 | 0:21:42 | |
the gap between the cars starts small. | 0:21:42 | 0:21:45 | |
Then after we're distracted by these loons and lots of pretty young girls in short skirts - | 0:21:45 | 0:21:50 | |
uh, yeah, aye, aye, | 0:21:50 | 0:21:54 | |
and legs, lot of them, where was I? | 0:21:54 | 0:21:57 | |
Oh, yeah, the gap's now huge, isn't it? | 0:21:57 | 0:22:00 | |
Remember your Highway Code, boys. | 0:22:00 | 0:22:02 | |
Spot any problems with this clip from 2 Fast 2 Furious? | 0:22:05 | 0:22:08 | |
It's the notepad. | 0:22:11 | 0:22:12 | |
It's already full. | 0:22:12 | 0:22:14 | |
If we go closer, you see the cop's pen isn't even touching the paper. | 0:22:14 | 0:22:19 | |
By the way, a special thanks to our zoom team for that close-up. | 0:22:19 | 0:22:22 | |
You're a credit to your families. | 0:22:22 | 0:22:24 | |
Sex And The City was that funny old time in the TV schedules, when men everywhere would mysteriously find | 0:22:26 | 0:22:32 | |
themselves stood in the kitchen, gazing listlessly into the fridge. | 0:22:32 | 0:22:36 | |
But for their better halves it was a chance to dip into the lives of four women who were spunky, kooky, sassy | 0:22:36 | 0:22:42 | |
and other words that don't really mean anything. | 0:22:42 | 0:22:45 | |
The characters think nothing of spending thousands on clothes and shoes | 0:22:45 | 0:22:49 | |
to look their glamorous bests. | 0:22:49 | 0:22:51 | |
Shame the makers of the film didn't bother to do the same. | 0:22:51 | 0:22:53 | |
Watch these errors. Tssk. | 0:22:53 | 0:22:56 | |
You have to eat a little breakfast. | 0:22:58 | 0:23:01 | |
Sex And The City, the movie. | 0:23:01 | 0:23:02 | |
I've loved SJP's long, long face ever since her movie debut | 0:23:02 | 0:23:05 | |
in the Godfather, when she played that horse's head left in the bed. | 0:23:05 | 0:23:09 | |
In this scene we've got teapot problems. | 0:23:09 | 0:23:12 | |
It's Art Deco, | 0:23:12 | 0:23:14 | |
then the next second it's normal. | 0:23:14 | 0:23:17 | |
Then we go back to Art Deco, and you've guessed it, | 0:23:17 | 0:23:23 | |
there's just time for it to go back to normal. | 0:23:23 | 0:23:25 | |
The irony is that Carrie doesn't even like tea. | 0:23:27 | 0:23:30 | |
Her preference would be for Tizer. | 0:23:30 | 0:23:33 | |
SHE SCREAMS | 0:23:34 | 0:23:37 | |
Similar balls up here with the napkin in Charlotte's hand. | 0:23:39 | 0:23:42 | |
It's not there. | 0:23:42 | 0:23:43 | |
Then it is. | 0:23:43 | 0:23:46 | |
..She just got engaged. And she has been going out with the man... | 0:23:46 | 0:23:50 | |
Then it's not. | 0:23:50 | 0:23:52 | |
APPLAUSE | 0:23:52 | 0:23:53 | |
And it's back again. Stop applauding her error, you dimwits. | 0:23:53 | 0:23:57 | |
In this dressing-up scene, | 0:24:01 | 0:24:03 | |
Carrie's kind but ageing friends are out on the lash. | 0:24:03 | 0:24:06 | |
But when she emerges in her iconic ballet outfit, watch the door behind her. | 0:24:06 | 0:24:11 | |
Is it open or is it closed? | 0:24:11 | 0:24:13 | |
Because it can't be both, as that would be then clopen, and that's not even a word. | 0:24:13 | 0:24:19 | |
The 1980s was the decade of big, big hair, | 0:24:22 | 0:24:26 | |
and it wasn't just the actors of the '80s who had big barnets, | 0:24:26 | 0:24:30 | |
it was every human living in that entire decade. | 0:24:30 | 0:24:33 | |
Directors, crew, writers, even the key grip. | 0:24:33 | 0:24:36 | |
At the time we thought big hair was just fashionable. | 0:24:38 | 0:24:41 | |
Little did we realise that the heat building up in that huge nest of matted hair was baking our brains, | 0:24:41 | 0:24:46 | |
causing us to litter our films with thick errors like these. | 0:24:46 | 0:24:51 | |
Val Kilmer and tiny Tom Cruise in Top Gun. | 0:24:54 | 0:24:58 | |
Not a lot of people know this, but when Cruise gets really happy, | 0:24:58 | 0:25:01 | |
sunglasses appear on his face. Like so. | 0:25:01 | 0:25:04 | |
You can be my wing man any time, Maverick. | 0:25:08 | 0:25:11 | |
The word "commando" means going without your underpants on. | 0:25:12 | 0:25:16 | |
It's also the name of a film starring Arnold Schwarzenegger. | 0:25:16 | 0:25:19 | |
Here, as he keys in the secret code for the door, we can see that it's already slightly ajar. | 0:25:19 | 0:25:25 | |
I'm afraid we've got you bang to rights on that one, Governor Schwarzenegger. | 0:25:25 | 0:25:30 | |
The first time I saw this I kept thinking | 0:25:33 | 0:25:35 | |
that the yellow Porsche was getting damaged. | 0:25:35 | 0:25:38 | |
There was just something inside me that was sure of it. | 0:25:39 | 0:25:42 | |
What did you with Sully? | 0:25:44 | 0:25:46 | |
I let him go. | 0:25:46 | 0:25:48 | |
But as you can see, I was wrong. | 0:25:50 | 0:25:52 | |
In the '80s, it wasn't just the action movie stars littering the films with their mistakes | 0:25:57 | 0:26:03 | |
like some baby with hiccups made of wrong. | 0:26:03 | 0:26:05 | |
As these next clips show, everyone was at it. | 0:26:05 | 0:26:07 | |
Ghost now, and keep your eyes on those filthy clay-covered hands. | 0:26:11 | 0:26:15 | |
As this scene goes from pot-making to love-making, watch. | 0:26:18 | 0:26:22 | |
They're suddenly... | 0:26:22 | 0:26:24 | |
..completely clean. | 0:26:25 | 0:26:27 | |
As I learned in sex education, cleanliness is next to godliness. | 0:26:27 | 0:26:32 | |
Teen Wolf now, and hands up | 0:26:36 | 0:26:38 | |
who wants to see an extra caught with their bits out? | 0:26:38 | 0:26:42 | |
Aw. I love the panic as she covers herself up. | 0:26:42 | 0:26:46 | |
Don't worry, love, we've all been there. | 0:26:46 | 0:26:50 | |
This is Back To The Future, and watch the politician's car. | 0:26:53 | 0:26:57 | |
Two speakers and a sign facing forwards. | 0:26:59 | 0:27:02 | |
There's Marty McFly. | 0:27:04 | 0:27:06 | |
And now one speaker and a sign that's facing sideways. | 0:27:06 | 0:27:09 | |
He's just lost my vote. | 0:27:11 | 0:27:13 | |
Smoking isn't big or clever, and neither are movie mistakes. | 0:27:17 | 0:27:21 | |
Stand By Me, and here's a young River Phoenix | 0:27:21 | 0:27:23 | |
with a fag packet in his sleeve. | 0:27:23 | 0:27:24 | |
Still there. | 0:27:25 | 0:27:28 | |
Still there. | 0:27:28 | 0:27:29 | |
And wham, they've gone! | 0:27:29 | 0:27:30 | |
Piss up a rope! | 0:27:30 | 0:27:32 | |
THEY LAUGH | 0:27:32 | 0:27:34 | |
Gordie's out. Gordie just bit the bag and stepped out the door! | 0:27:34 | 0:27:38 | |
And now they're back again. | 0:27:40 | 0:27:42 | |
As a punishment I suggest the boy's locked in a cupboard until he's smoked the whole packet. | 0:27:42 | 0:27:47 | |
It's not real anyway, it's just a film. How do I know? | 0:27:51 | 0:27:55 | |
Well, because you can see | 0:27:55 | 0:27:57 | |
Vern's radio mic fall down his trouser leg. | 0:27:57 | 0:27:59 | |
Thanks for that, Vern. | 0:28:03 | 0:28:04 | |
Thanks for killing the magic. | 0:28:04 | 0:28:07 | |
Brokeback Mountain was a controversial film about a couple of gay lovers in the American outback, | 0:28:09 | 0:28:14 | |
where homosexuality is frowned upon and, according to its inhabitants, | 0:28:14 | 0:28:18 | |
has never taken place between any men. | 0:28:18 | 0:28:21 | |
To those who think such love is morally wrong, ask yourself this - | 0:28:21 | 0:28:24 | |
is it as morally wrong as minor continuity errors hidden in the background of a Hollywood film? | 0:28:24 | 0:28:29 | |
Well, is it? | 0:28:29 | 0:28:31 | |
No, clearly, neither is morally wrong. | 0:28:31 | 0:28:34 | |
Can we all just calm down? | 0:28:34 | 0:28:35 | |
It's just a joke! | 0:28:35 | 0:28:37 | |
God! | 0:28:37 | 0:28:38 | |
In this clip, watch how Jake Gyllenhaal | 0:28:43 | 0:28:45 | |
puts a bit of wood on the block. | 0:28:45 | 0:28:47 | |
So at that point we know Jake has wood. | 0:28:48 | 0:28:51 | |
But a few seconds later, as he glances over to his cowboy lover, | 0:28:52 | 0:28:58 | |
and look, | 0:28:58 | 0:28:59 | |
Jake no longer has wood. | 0:28:59 | 0:29:02 | |
Ah. | 0:29:02 | 0:29:03 | |
Missed. | 0:29:03 | 0:29:05 | |
Look at the young boy in the back of shot wearing a stripy T-shirt. | 0:29:07 | 0:29:11 | |
He just loves to run and run, so much so that he's back again. | 0:29:11 | 0:29:16 | |
Could we get this kid sedated, please? | 0:29:16 | 0:29:18 | |
They say never work with children. | 0:29:25 | 0:29:27 | |
I say, never work with jars. | 0:29:27 | 0:29:30 | |
I'll clean this up just as soon as I call my sister to come get the girls. | 0:29:32 | 0:29:35 | |
Unless they have the power to A) self heal and B) self stack. | 0:29:35 | 0:29:40 | |
Like these ones. | 0:29:40 | 0:29:42 | |
Whoa. | 0:29:42 | 0:29:45 | |
In my day, I was told that children should be seen and not heard. | 0:29:50 | 0:29:53 | |
See you Sunday. | 0:29:53 | 0:29:55 | |
But judging from this microphone wire, | 0:29:59 | 0:30:01 | |
it seems modern children shouldn't just be heard, | 0:30:01 | 0:30:03 | |
they should be amplified with a state of the art digimic, too. | 0:30:03 | 0:30:06 | |
With their bright colours, cute characters and Happy Meal style merchandise, | 0:30:10 | 0:30:15 | |
animated movies are aimed squarely at children. | 0:30:15 | 0:30:18 | |
You might not care, but I want what's best for our children, | 0:30:18 | 0:30:22 | |
so I don't want to see Hollywood producers filling their witless little heads | 0:30:22 | 0:30:26 | |
with nonsensical errors, sloppy mistakes and unforgivably bad habits. | 0:30:26 | 0:30:29 | |
So if you're like me, you'll be disgusted when you see | 0:30:29 | 0:30:32 | |
this list of mistakes polluting the minds of our nation's future. | 0:30:32 | 0:30:35 | |
They're just children, for crying out loud. | 0:30:35 | 0:30:38 | |
This is Shrek 2. Ignore Ann Widdecombe in the foreground | 0:30:41 | 0:30:44 | |
and look at the hallway behind her. | 0:30:44 | 0:30:46 | |
Completely empty. | 0:30:46 | 0:30:48 | |
Yet just moments later, she leaves the room, reaches down | 0:30:48 | 0:30:52 | |
and picks her suitcase up in the hallway. | 0:30:52 | 0:30:54 | |
That wasn't there before. Unbelievable. | 0:30:56 | 0:30:58 | |
What is this, some kind of fairy story? | 0:30:58 | 0:31:01 | |
With fewer than 2,000 pandas surviving in the wild today, | 0:31:08 | 0:31:11 | |
I can only imagine what convinced DreamWorks to strap one with explosives. | 0:31:11 | 0:31:15 | |
But keep your eye on the soot and smoke on his fur. | 0:31:16 | 0:31:19 | |
It's gone. | 0:31:23 | 0:31:25 | |
So while it's sad that he's endangered, | 0:31:25 | 0:31:28 | |
it's great that he's clean. | 0:31:28 | 0:31:29 | |
More from the world of animation now. | 0:31:32 | 0:31:35 | |
In fact, we found so many blunders in animated movies that if we'd used them all | 0:31:35 | 0:31:39 | |
you literally wouldn't believe how much longer this would have been. | 0:31:39 | 0:31:43 | |
It would have been three minutes longer. | 0:31:44 | 0:31:46 | |
In this scene from Ratatouille, keep your eye on the wooden spoon. | 0:31:50 | 0:31:53 | |
Here it's sat quite happily in the thick, creamy soup. | 0:31:53 | 0:31:56 | |
But only seconds later, after this aggressive little man enters the scene, | 0:32:01 | 0:32:04 | |
it's gone. | 0:32:07 | 0:32:10 | |
I was going to write a book about movie mistakes featuring cooking utensils, but in the end I didn't. | 0:32:10 | 0:32:16 | |
The soup! | 0:32:18 | 0:32:19 | |
Here's Ratatouille again. | 0:32:19 | 0:32:20 | |
Look, Chef Skinner is pelting through the doors... | 0:32:20 | 0:32:23 | |
Nothing on either side of him, not a single thing. | 0:32:26 | 0:32:29 | |
Now he re-enters the kitchen, and what's this? | 0:32:32 | 0:32:36 | |
A little step ladder has appeared out of nowhere. | 0:32:36 | 0:32:39 | |
I smell a rat. | 0:32:39 | 0:32:40 | |
Finding Nemo now and a fight between a dentist and a bird | 0:32:44 | 0:32:47 | |
with a fish in its mouth, as often happens in Australia. | 0:32:47 | 0:32:50 | |
But keep your eyes on this crocodile poster. | 0:32:50 | 0:32:54 | |
Nemo's not dead, by the way, so don't worry about that. | 0:32:57 | 0:33:01 | |
Oh, it's shifted a couple of feet away from the window. | 0:33:06 | 0:33:09 | |
And would you believe it? | 0:33:12 | 0:33:14 | |
It's back again. There's something fishy going on here. | 0:33:14 | 0:33:17 | |
It's not easy being a movie extra. | 0:33:20 | 0:33:23 | |
You get paid, you get fed, you get to meet world famous... | 0:33:23 | 0:33:26 | |
Oh, hang on. It is easy. It's incredibly easy. | 0:33:26 | 0:33:29 | |
Yet our supporting artist friends, | 0:33:29 | 0:33:31 | |
who might as well wear a badge saying, "I wanted to be an actor, but got told that wouldn't happen," | 0:33:31 | 0:33:36 | |
still seem experts in ruining things for everyone else. | 0:33:36 | 0:33:39 | |
Watch these pillocks! | 0:33:39 | 0:33:40 | |
This one is superb. | 0:33:44 | 0:33:46 | |
It's from the gangster movie Once Upon a Time in America. | 0:33:46 | 0:33:49 | |
As a gunman wreaks havoc, watch how rubbish this woman's fall is. | 0:33:49 | 0:33:52 | |
Here we go, on the pavement, on the left. | 0:33:52 | 0:33:55 | |
HORN BEEPS | 0:33:56 | 0:33:57 | |
Actually, let's watch that again. | 0:33:58 | 0:34:00 | |
For most people it's the bullets that caused them to hit the deck, | 0:34:03 | 0:34:06 | |
but our old lady couldn't care less about a bit of lead. | 0:34:06 | 0:34:09 | |
No, what she fears more than anything else is...the car horn. | 0:34:09 | 0:34:12 | |
HORN BEEPS | 0:34:12 | 0:34:13 | |
You mean besides nothing? | 0:34:19 | 0:34:21 | |
Role Models now, and as these two leave the lift, | 0:34:21 | 0:34:23 | |
watch the extra in the background. | 0:34:23 | 0:34:25 | |
He calls the lift, but did you spot the gaffe? | 0:34:25 | 0:34:28 | |
Yep, there's no button. He's just pretending. | 0:34:30 | 0:34:34 | |
The extra was later destroyed. | 0:34:34 | 0:34:36 | |
This is a belter from Jaws. | 0:34:38 | 0:34:40 | |
Everyone's terrified, there's a shark in the water, people's lives are at risk. | 0:34:45 | 0:34:49 | |
Except... | 0:34:50 | 0:34:51 | |
Look at this guy. He's having a lovely time. | 0:34:54 | 0:34:56 | |
There's nothing he likes more than seeing a holidaymaker killed by a shark | 0:34:56 | 0:35:00 | |
and then wading into lovely, bloody waters. | 0:35:00 | 0:35:03 | |
For someone so suave and sophisticated, | 0:35:05 | 0:35:07 | |
the James Bond series is jam-packed with errors. | 0:35:07 | 0:35:10 | |
With plots as full of holes | 0:35:10 | 0:35:11 | |
as the KGB agents Bond merrily wastes with machine guns, | 0:35:11 | 0:35:14 | |
there are plenty of errors for movie-mistake aficionados to enjoy. | 0:35:14 | 0:35:18 | |
I spotted one of my own. | 0:35:18 | 0:35:19 | |
If you watch all of the Bond films back-to-back, | 0:35:19 | 0:35:22 | |
keep your eyes on Bond himself. | 0:35:22 | 0:35:23 | |
You can see his face changes slightly every five films or so. | 0:35:23 | 0:35:27 | |
And so does his hair colour and his accent. Watch out for it. | 0:35:27 | 0:35:30 | |
You can have that one. Yeah. | 0:35:30 | 0:35:32 | |
Casino Royale, starring Daniel Craig, | 0:35:35 | 0:35:37 | |
a man who doesn't discriminate against our ginger community. | 0:35:37 | 0:35:41 | |
How do I know? | 0:35:41 | 0:35:42 | |
Because he's hired one as his stunt double. | 0:35:42 | 0:35:45 | |
Unless he hopes he gets seriously injured. | 0:35:45 | 0:35:47 | |
OK, now I'm worried. | 0:35:47 | 0:35:50 | |
As James Bond totals yet another high-spec sports car, | 0:35:53 | 0:35:56 | |
keep your eyes on the windscreen. | 0:35:56 | 0:35:58 | |
It's definitely on the car. | 0:36:03 | 0:36:06 | |
Yet, when it finally comes to rest, it's suddenly gone. | 0:36:08 | 0:36:11 | |
James isn't looking too clever either. | 0:36:11 | 0:36:13 | |
I'd love to stay and help, but... | 0:36:13 | 0:36:14 | |
When you're an actor and you've got to do a dangerous stunt | 0:36:18 | 0:36:21 | |
like falling a few inches onto gravel, | 0:36:21 | 0:36:23 | |
how do you ensure you don't hurt your knees? | 0:36:23 | 0:36:26 | |
Who is this? | 0:36:26 | 0:36:27 | |
The answer, my friends, is BMX knee pads. | 0:36:31 | 0:36:34 | |
You can clearly see them under Mr White's trousers. | 0:36:34 | 0:36:39 | |
Mr White may have just been kneecapped, but at least he didn't graze them when he hit the floor. | 0:36:40 | 0:36:45 | |
Now we're going to spool back in time to see some old Bonds. | 0:36:47 | 0:36:51 | |
For many people, Connery takes the honours as the best 007, | 0:36:51 | 0:36:54 | |
and while that debate rumbles on, one thing is for certain. | 0:36:54 | 0:36:57 | |
He is a master at getting himself involved in some right ROYALE cock-ups. | 0:36:57 | 0:37:02 | |
Dr No now. | 0:37:05 | 0:37:07 | |
This is Bond, James Bond. | 0:37:07 | 0:37:10 | |
And here's a mistake, a movie mistake. | 0:37:10 | 0:37:13 | |
Check out this nifty bit of fisticuffs. | 0:37:13 | 0:37:16 | |
Pulls back with the right hand and then pops him with the left. | 0:37:16 | 0:37:19 | |
Here comes the right. | 0:37:20 | 0:37:22 | |
Bam! Eat my left fist! | 0:37:22 | 0:37:25 | |
Then along the Windward road until you get to the cement factory. | 0:37:27 | 0:37:32 | |
Here's the nympho spy getting directions to Miss Tarot's house | 0:37:32 | 0:37:35 | |
for what I believe they call "a booty call". | 0:37:35 | 0:37:38 | |
Listen, she gives the address as 239 Magenta Drive. | 0:37:38 | 0:37:41 | |
Magenta Drive, 239. | 0:37:42 | 0:37:45 | |
I'll be waiting for you. | 0:37:47 | 0:37:49 | |
May I use your phone? | 0:37:49 | 0:37:50 | |
But later on, after concluding his copulation, | 0:37:50 | 0:37:52 | |
he calls for a taxi and gives the address as 2171 Magenta Drive. | 0:37:52 | 0:37:57 | |
James Bond here. Can I have a car sent to 2171 Magenta Drive. | 0:37:58 | 0:38:03 | |
Good, she nods to confirm it. | 0:38:03 | 0:38:05 | |
Maybe her house is actually a caravan | 0:38:05 | 0:38:07 | |
and she has just been towed a couple of thousand houses down the road. | 0:38:07 | 0:38:10 | |
Thunderball now and James is fighting some baddie or other | 0:38:13 | 0:38:16 | |
and gets his diving mask ripped off. Ow! Wet eyes! | 0:38:16 | 0:38:20 | |
So he nicks the mask off this guy. | 0:38:20 | 0:38:23 | |
Clearly it's black. | 0:38:23 | 0:38:26 | |
But James pops it on, and oh, look, it's blue again. Brilliant. | 0:38:26 | 0:38:30 | |
It's a typical Friday night. | 0:38:36 | 0:38:39 | |
Bond has been having a fight with two women | 0:38:39 | 0:38:41 | |
and has ended up in a swimming pool. | 0:38:41 | 0:38:43 | |
He's soaking. | 0:38:43 | 0:38:44 | |
It must be a hot day, because seconds later he's completely dried off. | 0:38:47 | 0:38:50 | |
So, explain how this shirt is soaking wet again. What is it? | 0:38:52 | 0:38:56 | |
My guess is sweat. Dirty beggar. | 0:38:56 | 0:38:58 | |
Watch how very late Bond is for his cue here in Diamonds Are Forever. | 0:39:02 | 0:39:06 | |
The guy starts up his quad bike and is ready to pull away, | 0:39:06 | 0:39:09 | |
but Bond is miles away. | 0:39:09 | 0:39:10 | |
So the guy just helpfully sits there and waits to be kicked off. | 0:39:10 | 0:39:13 | |
If Bond spent more time learning his cues and less time making love to beautiful women | 0:39:15 | 0:39:19 | |
maybe this kind of thing wouldn't happen. | 0:39:19 | 0:39:21 | |
I hope my big end will stand up to this. | 0:39:25 | 0:39:27 | |
A huge error, this. See if you can spot it. | 0:39:27 | 0:39:29 | |
That's right, it was the casting of George Lazenby as Bond. | 0:39:32 | 0:39:36 | |
There's a smaller one here too. | 0:39:40 | 0:39:43 | |
Wait for Tracy to speak without moving her mouth. | 0:39:43 | 0:39:46 | |
James, how do we get out? | 0:39:46 | 0:39:48 | |
Ooh, that's clever. | 0:39:48 | 0:39:50 | |
There goes Bond showing off his one-footed skiing skills. | 0:39:54 | 0:39:57 | |
And there's the safety rope. | 0:40:00 | 0:40:02 | |
Lucky he was skiing at night, or it would have been more obvious. | 0:40:02 | 0:40:06 | |
One of the best things about Bond films is the gadgets. | 0:40:08 | 0:40:12 | |
Here's 007 showing off Q's latest invention - | 0:40:12 | 0:40:14 | |
tyres that screech on any surface, including sand. | 0:40:14 | 0:40:18 | |
Have a listen. | 0:40:19 | 0:40:21 | |
TYRES SCREECH | 0:40:21 | 0:40:22 | |
And once more. | 0:40:24 | 0:40:25 | |
TYRES SCREECH | 0:40:27 | 0:40:29 | |
I don't think so, Mr Bond. | 0:40:29 | 0:40:31 | |
Roger Moore, now we're talking. | 0:40:34 | 0:40:35 | |
Here's the best Bond there has ever been or ever will be | 0:40:35 | 0:40:40 | |
having a scrap in The Man With The Golden Gun. | 0:40:40 | 0:40:42 | |
They're making a right old mess and look what happens when they knock the mirror. | 0:40:42 | 0:40:46 | |
Hello, camera crew! | 0:40:51 | 0:40:52 | |
Hi! | 0:40:52 | 0:40:54 | |
-Life's not fair, is it? -A water pistol? | 0:41:00 | 0:41:03 | |
Pass me that robe. | 0:41:03 | 0:41:05 | |
When James Bond walks in to a single woman's apartment and spies on her as she showers on her own, | 0:41:05 | 0:41:10 | |
nobody bats an eyelid. | 0:41:10 | 0:41:12 | |
Yet when I do it... | 0:41:12 | 0:41:14 | |
Actually, she's not alone, is she? | 0:41:16 | 0:41:19 | |
There's a man with a camera there. | 0:41:19 | 0:41:20 | |
So that's fine. | 0:41:20 | 0:41:21 | |
Actually, that's worse, isn't it? | 0:41:21 | 0:41:23 | |
Next, we have more continuity errors | 0:41:25 | 0:41:28 | |
and when we talk about movie mistakes, | 0:41:28 | 0:41:30 | |
these ones really are as basic as it gets - | 0:41:30 | 0:41:33 | |
the blunders you're taught about on day one of a film-making course, | 0:41:33 | 0:41:36 | |
along with "Make sure there's film in the camera" | 0:41:36 | 0:41:39 | |
and "Never make eye-contact with Christian Bale." | 0:41:39 | 0:41:41 | |
Actually, they are the sort of errors I first spotted | 0:41:41 | 0:41:44 | |
when I first started out on my movie-mistake-spotting career. | 0:41:44 | 0:41:48 | |
I remember back then as a kid they used to make me squeal with happiness, | 0:41:48 | 0:41:51 | |
whereas now they simply fill me with a rage so powerful and all-consuming | 0:41:51 | 0:41:55 | |
that I sometimes feel I could kill a guy. | 0:41:55 | 0:41:58 | |
Minority Report | 0:42:01 | 0:42:02 | |
and I've got something to report about door furniture in this scene. | 0:42:02 | 0:42:06 | |
Here the door handle is on the left, clear as day. | 0:42:06 | 0:42:09 | |
But after a hard stare from Tom... | 0:42:09 | 0:42:11 | |
Bam! It moved to the right. | 0:42:11 | 0:42:14 | |
Urgh, doors. | 0:42:14 | 0:42:16 | |
Remember, viable embryos. | 0:42:21 | 0:42:24 | |
We'll never know when dinosaurs became extinct, | 0:42:24 | 0:42:27 | |
but we can pinpoint the exact moment this brown bag ceases to exist. | 0:42:27 | 0:42:30 | |
It just disappears. | 0:42:30 | 0:42:32 | |
Here's Nedry, greedily clutching it like it's a packet of biscuits. | 0:42:34 | 0:42:38 | |
But, hang on, in the blink of an eye, it's gone. | 0:42:38 | 0:42:42 | |
Maybe that's what happened to the dinosaurs - | 0:42:43 | 0:42:46 | |
they were just manhandled by a fat bloke and vanished. Who knows? | 0:42:46 | 0:42:49 | |
Ramses is the one. He puts the people all on fire! | 0:42:51 | 0:42:55 | |
Wrestling-based chuckleshow Nacho Libre next. | 0:42:55 | 0:42:58 | |
Watch Stephen being pulled into the hole by the fat lady, | 0:42:58 | 0:43:02 | |
see how she knocks down the plant pot, | 0:43:02 | 0:43:04 | |
but wait, there it is standing up again. | 0:43:04 | 0:43:08 | |
Stephen! | 0:43:08 | 0:43:10 | |
And, lo and behold, there it is fallen over again. | 0:43:10 | 0:43:13 | |
This is for marring an otherwise perfect take. | 0:43:13 | 0:43:16 | |
If you're down with the kids, like me, | 0:43:21 | 0:43:23 | |
you'll know Zac Efron's the shizzle, | 0:43:23 | 0:43:24 | |
and here he is in 17 Again. | 0:43:24 | 0:43:27 | |
See that lectern? | 0:43:29 | 0:43:30 | |
OK, settle down, everybody, take your seats. Thank you. | 0:43:32 | 0:43:36 | |
Well, only moments later, | 0:43:36 | 0:43:38 | |
it's gone as Zac tries to forcefully make love to this guy. | 0:43:38 | 0:43:41 | |
At least get his consent, Zac. | 0:43:41 | 0:43:43 | |
Last Chance Harvey now, | 0:43:48 | 0:43:49 | |
and Emma Thompson's book is about to turn into a scarf. | 0:43:49 | 0:43:52 | |
-Are you OK? -Yes, I'm fine. | 0:43:52 | 0:43:54 | |
Then, back into a book. | 0:43:56 | 0:43:57 | |
A sure sign that these two people will soon make love. | 0:43:57 | 0:44:00 | |
Bad Boys II now, and as this jeep careers through a shanty town, | 0:44:05 | 0:44:09 | |
see how the wing mirrors get smashed. | 0:44:09 | 0:44:11 | |
But now they're miraculously fixed. | 0:44:17 | 0:44:19 | |
If only the same could be said for the homes of these poor shanty dwellers. | 0:44:19 | 0:44:23 | |
Point Break now, | 0:44:27 | 0:44:28 | |
one of the finest movies ever made about criminals who can surf. | 0:44:28 | 0:44:33 | |
First, pervert Keanu cops an eyeful of Tyler as she gets undressed. | 0:44:33 | 0:44:37 | |
Later, we can see on police records | 0:44:40 | 0:44:42 | |
that Tyler has blue eyes and black hair. | 0:44:42 | 0:44:44 | |
Personally, I was too busy trying to see what was under her towel. | 0:44:44 | 0:44:47 | |
That is your surfing contact? | 0:44:47 | 0:44:51 | |
Female, blue eyes, black hair, five foot six, 119 lbs. | 0:44:51 | 0:44:57 | |
Not bad, Utah. | 0:44:59 | 0:45:00 | |
Tyler Ann Endicott, born 11/27/64. | 0:45:00 | 0:45:05 | |
But when we next see the screen | 0:45:05 | 0:45:07 | |
her eyes are on record as being green, and she's a blonde. | 0:45:07 | 0:45:10 | |
So, that's clear then. | 0:45:10 | 0:45:11 | |
Keanu's informant has both green and blue eyes and black and blonde hair. | 0:45:11 | 0:45:16 | |
The Harry Potter books have brought joy to children | 0:45:20 | 0:45:23 | |
and very easily impressed adults everywhere. | 0:45:23 | 0:45:25 | |
Now the subject of major motion pictures, | 0:45:25 | 0:45:28 | |
they are riddled with errors. | 0:45:28 | 0:45:29 | |
Interesting to note that Harry | 0:45:29 | 0:45:31 | |
can cast spells to lock and unlock doors, | 0:45:31 | 0:45:33 | |
summon fire and render himself invisible, | 0:45:33 | 0:45:36 | |
but he can't make Hermione want to get off with him. | 0:45:36 | 0:45:38 | |
Not so clever now, are you, Potter? | 0:45:38 | 0:45:42 | |
Fashions, eh? These days they seem to change in the blink of an eye. | 0:45:45 | 0:45:49 | |
Just ask Ron, who goes from centre parting... | 0:45:49 | 0:45:51 | |
..to side parting in just under a hundredth of a second. | 0:45:53 | 0:45:56 | |
Wicked! | 0:45:57 | 0:45:58 | |
An absolute beauty now from Harry Potter And The Chamber Of Secrets. | 0:46:03 | 0:46:07 | |
When Snape pulls Malfoy back onto his feet, | 0:46:07 | 0:46:10 | |
who's this in the far left of screen? | 0:46:10 | 0:46:13 | |
It's either a film cameraman | 0:46:13 | 0:46:14 | |
or some random guy walking around a school filming kids. | 0:46:14 | 0:46:18 | |
The Goblet Of Fire now, and check out this sprinting slaphead. | 0:46:21 | 0:46:24 | |
He runs past Ron twice. | 0:46:24 | 0:46:25 | |
This is the first time. | 0:46:31 | 0:46:32 | |
And, dear, oh, dear, there he goes again. | 0:46:37 | 0:46:39 | |
The harsh truth is, that if Ron wasn't ginger, | 0:46:40 | 0:46:42 | |
we probably wouldn't have noticed. Think on. | 0:46:42 | 0:46:45 | |
In this clip from The Order Of The Phoenix, | 0:46:49 | 0:46:51 | |
Harry has a nightmare so scary it makes his T-shirt change colour. | 0:46:51 | 0:46:54 | |
It goes from light blue with stripes... | 0:46:59 | 0:47:01 | |
..to dark blue with buttons. | 0:47:05 | 0:47:07 | |
It's also likely that he has weed the bed. | 0:47:08 | 0:47:11 | |
The premise of The Matrix is so simple that it's hard to see how they ever make a movie mistake. | 0:47:14 | 0:47:19 | |
Keanu Reeves is contacted by Morpheus, a terrorist wanted by the government, | 0:47:19 | 0:47:23 | |
who explains that the real world is a ravaged wasteland, | 0:47:23 | 0:47:26 | |
where most of humanity have been captured by machines | 0:47:26 | 0:47:29 | |
which live off their body heat and imprison their minds | 0:47:29 | 0:47:31 | |
with an artificial reality known as The Matrix. | 0:47:31 | 0:47:34 | |
Keanu must defeat the super-powerful computer programmes. It pretty much writes itself. | 0:47:35 | 0:47:39 | |
Yet they've littered it with mistakes. Weird! | 0:47:39 | 0:47:42 | |
Mind-blowing, | 0:47:49 | 0:47:51 | |
spectacular...beyond belief. | 0:47:51 | 0:47:53 | |
No, I'm not talking about the special effects. | 0:47:54 | 0:47:57 | |
I'm talking about Neo's gaffe. | 0:47:57 | 0:47:58 | |
So...he drops both guns by his feet. | 0:48:02 | 0:48:04 | |
But now we get a 360 degree view of him and they've gone. | 0:48:07 | 0:48:10 | |
Now they're back. | 0:48:18 | 0:48:19 | |
Ah, too late. | 0:48:22 | 0:48:24 | |
Same film now and Larry Fishburne's shades go from black... | 0:48:28 | 0:48:32 | |
Right now we're inside a computer programme? | 0:48:34 | 0:48:36 | |
Is it really so hard to believe? | 0:48:36 | 0:48:38 | |
..to mirrored. I like his living room though. Minimalist. | 0:48:38 | 0:48:43 | |
-How much further? -Here, just here. | 0:48:45 | 0:48:47 | |
Reflection problems again now in Matrix Reloaded. | 0:48:47 | 0:48:50 | |
I'm sorry, this is a dead end. | 0:48:50 | 0:48:52 | |
There should be three people reflected in Agent Smith's glasses - | 0:48:52 | 0:48:56 | |
Morpheus, Neo and whoever that other guy is. | 0:48:56 | 0:48:58 | |
There isn't. Or his glasses are designed to look at the reflection of an empty corridor. | 0:48:58 | 0:49:03 | |
Now for some errors that are only for the truly eagle-eyed. | 0:49:05 | 0:49:08 | |
Sure, some people might say it's nerdy or geeky or sad of the team even to have spotted them. | 0:49:08 | 0:49:13 | |
Is it sad? Is it sad to strive for perfection in movie-making? | 0:49:13 | 0:49:17 | |
Is it sad to want to enjoy that one true error-free film? | 0:49:17 | 0:49:20 | |
Is it sad to rewind and replay every scene of every film you ever watch in the hope of spotting any error | 0:49:20 | 0:49:26 | |
and then writing it down in your special book just to crow about it on BBC Three? | 0:49:26 | 0:49:30 | |
Oh, it is? | 0:49:31 | 0:49:32 | |
Right. | 0:49:32 | 0:49:34 | |
BELL CHIMES | 0:49:37 | 0:49:39 | |
Now then. Big Ben would only chime like this on the hour, | 0:49:40 | 0:49:43 | |
but as all you sighted viewers will appreciate in this clip from sci-fi flick Jumper, | 0:49:43 | 0:49:49 | |
the clock reads half past, | 0:49:49 | 0:49:50 | |
which is as far from on the hour as you can get. | 0:49:50 | 0:49:53 | |
I know all that because I learnt it at school! | 0:49:53 | 0:49:56 | |
Sorry about him. He doesn't understand what it's like. | 0:50:01 | 0:50:04 | |
A pre-pubescent Harry Potter here making idle chat with a snake. | 0:50:04 | 0:50:08 | |
Like you do! | 0:50:08 | 0:50:10 | |
But, hold on. What was that? | 0:50:10 | 0:50:13 | |
The snake just winked at him. | 0:50:15 | 0:50:16 | |
And that, my friends, is impossible because snakes don't have eyelids. | 0:50:16 | 0:50:22 | |
Forrest Gump. | 0:50:24 | 0:50:26 | |
Listen to the day he says she died. | 0:50:26 | 0:50:28 | |
'You died on a Saturday morning.' | 0:50:28 | 0:50:31 | |
Saturday. | 0:50:31 | 0:50:33 | |
Now look at the gravestone. | 0:50:33 | 0:50:35 | |
It says March 22nd, 1982... | 0:50:35 | 0:50:37 | |
which as any diary fans will know was a Monday! | 0:50:37 | 0:50:41 | |
Jenny's dying is very sad, Forrest, | 0:50:41 | 0:50:43 | |
but lying about it won't bring her back, and believe me, I've tried. | 0:50:43 | 0:50:48 | |
Another one for all you diary fans. Blades Of Glory. | 0:50:51 | 0:50:55 | |
Listen to this date. | 0:50:55 | 0:50:56 | |
'Until March 14th, 1987...' | 0:50:56 | 0:50:58 | |
OK. The newspaper says that March 14th, 1987 was a Sunday. | 0:50:58 | 0:51:03 | |
Yet, as we all know, it was a Saturday. | 0:51:03 | 0:51:08 | |
I faxed the director about this. | 0:51:08 | 0:51:09 | |
Worryingly, some two years later, he's yet to respond. | 0:51:09 | 0:51:13 | |
The Shawshank Redemption now. | 0:51:17 | 0:51:19 | |
One of the all-time great movies about redemption | 0:51:19 | 0:51:22 | |
and about Shawshanks, probably. | 0:51:22 | 0:51:23 | |
But if this is the hole that Andy Dufresne escaped through, how can he have reattached the poster? | 0:51:28 | 0:51:33 | |
If he was inside the tunnel, it would be impossible to stick the poster to the wall. | 0:51:33 | 0:51:38 | |
Unless he broke back in, stuck it back up again and jumped over the wall to escape a second time. | 0:51:41 | 0:51:46 | |
Yes, yes, that's probably what he did. Yeah. | 0:51:46 | 0:51:49 | |
Any historians watching, prepare to get ruddy angry. | 0:51:52 | 0:51:56 | |
This is The Mummy, set in Ancient Egypt. | 0:51:56 | 0:51:58 | |
There's the pyramids. Now, the most famous pyramids are in Giza. | 0:51:58 | 0:52:02 | |
The Sphinx, which is definitely in Giza. So, we're in Giza. No doubt about it. | 0:52:03 | 0:52:08 | |
But a few moments later, when the voiceover kicks in... | 0:52:12 | 0:52:14 | |
Thebes, City of the Living... | 0:52:14 | 0:52:18 | |
Thebes! No, mate! | 0:52:18 | 0:52:20 | |
Historians of the world, attack! | 0:52:20 | 0:52:22 | |
Indiana Jones and the Crystal Skull. | 0:52:26 | 0:52:28 | |
Set in 1957, this movie somehow shows us a country, Belize, | 0:52:28 | 0:52:33 | |
which didn't exist until 16 years later. | 0:52:33 | 0:52:35 | |
It should be called British Honduras. | 0:52:35 | 0:52:38 | |
It feels wrong to have a go at Hollywood for this, though. When it comes to showbiz archaeology, | 0:52:40 | 0:52:45 | |
they gave the world Indiana Jones, and we gave it Time Team. Boo. | 0:52:45 | 0:52:49 | |
The same Indy film here. Set, you'll remember, in 1957. | 0:52:52 | 0:52:56 | |
But had they invented digital readouts in 1957? | 0:52:56 | 0:52:59 | |
Our survey says... | 0:53:01 | 0:53:02 | |
UH-UH! | 0:53:02 | 0:53:03 | |
The Damned United now - excuse my swearing - | 0:53:07 | 0:53:10 | |
and although it's a very sad scene, I do feel duty-bound | 0:53:10 | 0:53:13 | |
to point out the 21st-century pay-and-display machine, despite the scene being set in the 1970s. | 0:53:13 | 0:53:19 | |
Sometimes even I think I need to get a life. | 0:53:21 | 0:53:24 | |
Revolutionary Road now, and it's the '50s. | 0:53:29 | 0:53:31 | |
As DiCaprio and Winslet snog, | 0:53:31 | 0:53:33 | |
We go to a globe that shows Slovakia and the Czech Republic - | 0:53:33 | 0:53:37 | |
two countries that didn't become independent for four more decades. | 0:53:37 | 0:53:41 | |
Global geopolitics, eh? | 0:53:41 | 0:53:43 | |
You can't whack it. | 0:53:43 | 0:53:45 | |
And this clanger is from Cadillac Records, set in the '40s and '50s. | 0:53:48 | 0:53:52 | |
Once the duo finish their dirty business in the bath, | 0:53:52 | 0:53:54 | |
check this out - a Star Wars album. | 0:53:54 | 0:53:57 | |
That film wasn't out until 1977. | 0:53:57 | 0:54:00 | |
Someone find the director and let him be attacked by a frenzied gang of Ewoks. | 0:54:00 | 0:54:06 | |
-So you're gay now? -No, I'm not gay, I'm just celibate. | 0:54:09 | 0:54:12 | |
The 40-Year-Old Virgin, and here's one for super-nerds. | 0:54:12 | 0:54:18 | |
As Cal and Dave play video games and cast aspersions | 0:54:18 | 0:54:20 | |
on each other's sexuality, there's a clanger to be spotted. | 0:54:20 | 0:54:25 | |
...I kind of want to get back out there, but I think I like guys... | 0:54:25 | 0:54:28 | |
That's right. They're playing Mortal Kombat Deception | 0:54:28 | 0:54:32 | |
and Cal's using a Nintendo 64 controller. | 0:54:32 | 0:54:34 | |
But that game was only ever released on PlayStation 2, | 0:54:34 | 0:54:37 | |
Game Cube and X Box! Oh! | 0:54:37 | 0:54:41 | |
And finally, Austrian fashionista Bruno. | 0:54:44 | 0:54:46 | |
Here he is with the latest celebrity must-have. | 0:54:46 | 0:54:49 | |
TRANSLATION FROM GERMAN: | 0:54:49 | 0:54:52 | |
When Bruno takes baby OJ out of the box, the subtitle reads... | 0:54:54 | 0:54:59 | |
But as anyone who took GCSE German will have noticed, | 0:55:04 | 0:55:07 | |
there's been a translation gaffe. | 0:55:07 | 0:55:09 | |
Listen, Bruno says "vierzehn". | 0:55:14 | 0:55:16 | |
Which means 14, not 13. | 0:55:18 | 0:55:20 | |
Call the fashion police now. | 0:55:22 | 0:55:23 | |
Subtitles by Red Bee Media Ltd | 0:55:45 | 0:55:48 | |
E-mail [email protected] | 0:55:48 | 0:55:51 |