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Hello. And welcome to Great Movie Mistakes. | 0:00:25 | 0:00:28 | |
This is the show that brings you the howlers the Hollywood A-list | 0:00:28 | 0:00:31 | |
prayed they'd got away with. | 0:00:31 | 0:00:33 | |
In the next action-packed hour, | 0:00:33 | 0:00:35 | |
we're going to be showing you more blunders and gaffs than you can shake a stick at. | 0:00:35 | 0:00:39 | |
And if you don't believe me, I suggest you start shaking that stick | 0:00:39 | 0:00:43 | |
because once these blunders start coming, they ain't going to stop... | 0:00:43 | 0:00:47 | |
for an hour! | 0:00:47 | 0:00:48 | |
On tonight's show, mistakes from - | 0:00:50 | 0:00:52 | |
Continuity errors are unforgivable. | 0:01:02 | 0:01:05 | |
I've never understood why film-makers fail to spot them. | 0:01:05 | 0:01:08 | |
All you have to do is remember to keep the same details in every shot. It's not rocket science. | 0:01:08 | 0:01:13 | |
It's not even GCSE science. It's easy. So let's all laugh at the farcical errors in these films. | 0:01:13 | 0:01:19 | |
Errors that, in all honesty, only an idiot would make. | 0:01:19 | 0:01:24 | |
Braveheart, and here's some angry Scots | 0:01:27 | 0:01:29 | |
indulging in their traditional national sport...slaughter. | 0:01:29 | 0:01:32 | |
Mel can't make up his mind what weapon to use, though. | 0:01:32 | 0:01:34 | |
Here, he's got a small pickaxe. | 0:01:41 | 0:01:43 | |
Now it's disappeared. | 0:01:48 | 0:01:49 | |
Beg your pardon, it's a large sword. Sword. | 0:01:52 | 0:01:55 | |
No, it's a pickaxe again. | 0:01:56 | 0:01:58 | |
My mistake. It's a sword. | 0:02:01 | 0:02:02 | |
God only knows what he's going to use by the time he gets there. | 0:02:02 | 0:02:05 | |
Here's Mel again, frolicking through woodland like what people did then. | 0:02:09 | 0:02:13 | |
Then all of a sudden, whoa! | 0:02:13 | 0:02:14 | |
There's a sword in his hand. | 0:02:14 | 0:02:16 | |
No. You're not drunk. Well, Mel might be. | 0:02:19 | 0:02:21 | |
It just magically appears. Watch. | 0:02:21 | 0:02:24 | |
Weird. Still, at least he's got something he can cut his hair with now. | 0:02:29 | 0:02:32 | |
And she was a wonderful person. | 0:02:34 | 0:02:35 | |
-It's a terrible loss. -This is King Kong. | 0:02:35 | 0:02:37 | |
The brother of Donkey and Hong. | 0:02:37 | 0:02:42 | |
In this scene, the cowardly movie-star is trying to talk them into giving up like a big wuss. | 0:02:42 | 0:02:47 | |
See how he has a rope slung around his yellow belly | 0:02:47 | 0:02:50 | |
and notice that he never takes it off. | 0:02:50 | 0:02:53 | |
But when he scuttles off - yes, off you go - he no longer has it. | 0:02:54 | 0:02:59 | |
Adrian Brody's holding it. | 0:02:59 | 0:03:01 | |
-Anyone else? -Pathetic. | 0:03:01 | 0:03:04 | |
-Thank you, Colonel. -This is Valkyrie. | 0:03:09 | 0:03:12 | |
In which Tom Cruise tries to boost | 0:03:12 | 0:03:14 | |
his flagging popularity by playing a German. Hmm. | 0:03:14 | 0:03:17 | |
Cruise's character Stauffenberg hands Herr Hitler the revised version of Operation Valkyrie. | 0:03:19 | 0:03:24 | |
See how Hitler grabs the folder with his right hand and in the next shot, | 0:03:24 | 0:03:28 | |
he's holding it with his left hand. | 0:03:28 | 0:03:31 | |
Come on, Hitler. Ah! | 0:03:31 | 0:03:33 | |
Rewind. | 0:03:33 | 0:03:34 | |
See? A sloppy error from one of the most reviled men in history. | 0:03:37 | 0:03:41 | |
And just to be clear, I'm talking about Hitler. Not Tom Cruise. | 0:03:41 | 0:03:45 | |
Tom Cruise again underneath some beautifully conditioned hair | 0:03:47 | 0:03:52 | |
in Mission Impossible 2. | 0:03:52 | 0:03:54 | |
Look at those tyres. They look pretty standard to me. | 0:03:54 | 0:03:57 | |
But moments later when Tom goes off road...they're knobbly. | 0:04:00 | 0:04:04 | |
I don't know about the mission, but that's impossible. | 0:04:04 | 0:04:09 | |
This is Hairspray, and the tubby girl you can see is John Travolta, | 0:04:13 | 0:04:17 | |
dressing like he does whenever his wife goes out. | 0:04:17 | 0:04:20 | |
Keep your eye on the road outside Mr Pinky's. | 0:04:20 | 0:04:22 | |
There's no sign of a car, and then wallop! | 0:04:22 | 0:04:25 | |
There's a pink one right next to them. | 0:04:25 | 0:04:28 | |
Then it's gone again. Now it's back. Then it's gone. | 0:04:28 | 0:04:33 | |
Like John, I'm deeply confused. | 0:04:33 | 0:04:36 | |
This is Click, | 0:04:38 | 0:04:41 | |
and a scene starring trained coastguard David Hasselhoff. | 0:04:41 | 0:04:43 | |
Here he is looking fetching in spectacles. | 0:04:44 | 0:04:47 | |
While he shovels in food, making less mess than he does | 0:04:51 | 0:04:54 | |
on that drunken YouTube video, you keep an eye on those glasses. | 0:04:54 | 0:04:57 | |
They're there. | 0:04:57 | 0:05:00 | |
Then faster than you can say "sober up", they've gone. | 0:05:00 | 0:05:03 | |
I spent money I don't have. | 0:05:03 | 0:05:06 | |
Now, John Tucker Must Die. Poor fella. | 0:05:09 | 0:05:12 | |
Ignore his impending death and keep an eye on the extras by the pillar. | 0:05:12 | 0:05:16 | |
They keep disappearing. | 0:05:18 | 0:05:20 | |
And reappearing. | 0:05:27 | 0:05:28 | |
-Oh, sorry. -That, my friends, is quite, quite baffling. | 0:05:28 | 0:05:34 | |
A very glorified position where you have your cars and your houses... | 0:05:38 | 0:05:41 | |
Factory Girl. Hayden Christensen chucks his beer bottle away... | 0:05:41 | 0:05:45 | |
..here he goes, woo, tough guy! It smashes. | 0:05:45 | 0:05:50 | |
But when he drives his motorbike into the lake like an idiot... | 0:05:50 | 0:05:53 | |
The decking shows no sign of any broken glass. | 0:05:53 | 0:05:56 | |
You could eat your dinner off that. But don't. | 0:05:56 | 0:05:59 | |
Batman now. | 0:06:01 | 0:06:03 | |
Yeah, we can't get enough of the Caped Crusader. | 0:06:03 | 0:06:05 | |
There have now been six Batman movies and every one has been littered with mistakes. | 0:06:05 | 0:06:09 | |
The star of the last two was Christian Bale, and he just loves movie mistakes. | 0:06:09 | 0:06:13 | |
Whereas most of us just titter or raise a smile, he expresses | 0:06:13 | 0:06:16 | |
his mirth by ranting at a lighting technician for nine long minutes. | 0:06:16 | 0:06:20 | |
Thank goodness he didn't spot these errors, or some poor crew member | 0:06:20 | 0:06:23 | |
would have been picking his face off the floor with broken fingers. | 0:06:23 | 0:06:27 | |
-I'm just ahead of the curve. -This is The Dark Knight. | 0:06:29 | 0:06:33 | |
The Joker, who clearly takes make-up tips from Jodie Marsh, | 0:06:33 | 0:06:36 | |
has got Batman in a right old tizz. | 0:06:36 | 0:06:39 | |
As Batman slams The Joker against the wall, | 0:06:41 | 0:06:44 | |
you can make out the reflection of the cameraman. There, easy, Chris. | 0:06:44 | 0:06:48 | |
Here's the character Two-Face in the same film. | 0:06:50 | 0:06:54 | |
A man who seems to have been a tad over enthusiastic | 0:06:54 | 0:06:57 | |
when exfoliating the left side of his face. | 0:06:57 | 0:06:59 | |
Still, at least he shifted them blackheads. | 0:06:59 | 0:07:03 | |
Keep your peepers on the clip thing on Two-Face's finger. | 0:07:03 | 0:07:06 | |
It's on in this shot, then gone in the next. And it keeps happening. | 0:07:06 | 0:07:12 | |
A continuity error or some kind of black magic? Let's toss for it. | 0:07:12 | 0:07:15 | |
It's a continuity error. | 0:07:18 | 0:07:20 | |
Oh-oof! | 0:07:24 | 0:07:26 | |
Before Batman was played by international man of anger | 0:07:26 | 0:07:28 | |
Christian Bale, the Caped Crusader was a very different short of chap. | 0:07:28 | 0:07:32 | |
Yet, as these clips show, he was no less likely to drop big fat clangers. | 0:07:32 | 0:07:38 | |
This is a scene from the first Batman movie. | 0:07:43 | 0:07:46 | |
A henchman defaces a priceless Rembrandt | 0:07:46 | 0:07:49 | |
and who can blame him? | 0:07:49 | 0:07:50 | |
But a second later, the handprints have somehow...gone. | 0:07:50 | 0:07:56 | |
He should've used a good quality emulsion. | 0:07:56 | 0:07:59 | |
Same film, different clip. | 0:08:04 | 0:08:07 | |
Now, the Joker is merrily blasting bullets | 0:08:07 | 0:08:09 | |
into this gentle pensioner. | 0:08:09 | 0:08:11 | |
The elderly actor now just has to slump in his chair and play dead. | 0:08:11 | 0:08:15 | |
Can he manage it? | 0:08:19 | 0:08:21 | |
What do you reckon? | 0:08:21 | 0:08:22 | |
D'oh. | 0:08:26 | 0:08:28 | |
You'll need to watch closely for this one. | 0:08:30 | 0:08:33 | |
The Caped Crusader kicks the mugger so hard, he flies through a door. | 0:08:33 | 0:08:37 | |
But watch it again and you'll see it wasn't the force of the kick that did it. | 0:08:38 | 0:08:43 | |
It was this wire. | 0:08:45 | 0:08:47 | |
This is Batman Returns in which Batman, er, returns. | 0:08:52 | 0:08:58 | |
See if you can spot this next mistake all on your own. I won't give you any clues. | 0:08:58 | 0:09:04 | |
I won't even mention that Pfieffer's not screaming, her gob's just a wide open. | 0:09:04 | 0:09:09 | |
Did you spot the mistake? | 0:09:12 | 0:09:14 | |
In this scene, Michelle Pfeiffer is in a right old mard. | 0:09:16 | 0:09:20 | |
Better not tell her that her scissors go from blue here | 0:09:22 | 0:09:26 | |
to pink here. | 0:09:26 | 0:09:28 | |
Let's see that again. | 0:09:30 | 0:09:32 | |
Blue, blue, blue. Pink! Pink! | 0:09:32 | 0:09:38 | |
I shan't mention it, she probably just needs some chocolate and a nice sit down. | 0:09:39 | 0:09:42 | |
Batman is the one superhero who doesn't have any superpowers. | 0:09:46 | 0:09:49 | |
Unless you count billions of dollars | 0:09:49 | 0:09:52 | |
and people who help him to the ground when he falls over. | 0:09:52 | 0:09:55 | |
You don't know about that? Watch. | 0:09:58 | 0:10:00 | |
You can see the crew member's hand there. | 0:10:00 | 0:10:04 | |
Not so tough now, are you? | 0:10:04 | 0:10:06 | |
In this scene, a penguin, sorry, The Penguin, | 0:10:09 | 0:10:13 | |
has taken control of the Batmobile. | 0:10:13 | 0:10:14 | |
Not to worry, Wayne Enterprises didn't get where it is today with poor craftsmanship. | 0:10:16 | 0:10:22 | |
So it's disappointing to see the dashboard of the Batmobile wobble like it's made of rubber. | 0:10:22 | 0:10:27 | |
It's almost as if it's just a fake car made for the purposes of a movie. | 0:10:27 | 0:10:32 | |
I love the way billionaire Bruce Wayne makes | 0:10:34 | 0:10:37 | |
a decrepit pensioner run around after him. But good old Alfred | 0:10:37 | 0:10:41 | |
is always so accommodating, even when he's unconscious. | 0:10:41 | 0:10:43 | |
He moves the tray out of the way, so The Riddler can open the door. | 0:10:43 | 0:10:47 | |
Let's see that again and look carefully at Alfred's hand. | 0:10:48 | 0:10:52 | |
Will that be all, sir? Only my brain is haemorrhaging. | 0:10:55 | 0:10:58 | |
This one from Batman Forever is cool, too. | 0:11:01 | 0:11:04 | |
Watch how the diamond pulled out of the case by The Riddler | 0:11:04 | 0:11:08 | |
shrinks in the blink of an eye. See? | 0:11:08 | 0:11:11 | |
He pulls out a bloomin' biggun' and then when he examines it, | 0:11:15 | 0:11:18 | |
it's pea-sized. Either that or his hands went massive. | 0:11:18 | 0:11:23 | |
Batman And Robin now, and if there's one thing about Uma Thurman, | 0:11:27 | 0:11:31 | |
it's that she can take her gloves off quicker than anyone in the business. | 0:11:31 | 0:11:34 | |
-Gotham Observatory... -See? No gloves. -..and step on it. | 0:11:34 | 0:11:39 | |
Napoleon Dynamite follows the school days of a socially inept nerd who sits on his own in the canteen, | 0:11:42 | 0:11:48 | |
has no friends and spends his time drawing pictures of fictional animals. | 0:11:48 | 0:11:52 | |
As such, I am unable to relate to it. | 0:11:52 | 0:11:55 | |
Fictional animals weren't my thing. I was more of a "spending hours pouring over films, | 0:11:55 | 0:11:59 | |
"trying to pick petty holes in a movie to make myself feel important" kind of a guy. | 0:11:59 | 0:12:04 | |
As I shall now demonstrate. | 0:12:04 | 0:12:06 | |
Here's our big-haired hero now, | 0:12:10 | 0:12:12 | |
stood on his Jack Jones watching a farmer slaughter cattle. | 0:12:12 | 0:12:16 | |
Nothing works! | 0:12:24 | 0:12:27 | |
GUNSHOT, CHILDREN SCREAM | 0:12:29 | 0:12:31 | |
Except, hang on. He's not alone, is he? | 0:12:34 | 0:12:37 | |
Look, there's a reflection of the film crew. | 0:12:37 | 0:12:40 | |
-GUNSHOT, CHILDREN SCREAM -Oh, I'm so glad. | 0:12:40 | 0:12:43 | |
Rather than eat fruit, those unhealthy Americans | 0:12:46 | 0:12:49 | |
prefer to lob it at their uncle's van. | 0:12:49 | 0:12:51 | |
But the film-makers have boobed. See how the fruit bounces off, leaving just a bit of juice? | 0:12:51 | 0:12:56 | |
But when he stops here, the windscreen's caked in fruit. | 0:12:56 | 0:12:59 | |
Mmm...cake. | 0:13:01 | 0:13:03 | |
What better way to spend a sunny afternoon | 0:13:08 | 0:13:10 | |
than using a van to test the durability of Tupperware? | 0:13:10 | 0:13:13 | |
Shame they've marred that lovely thought with a mistake. | 0:13:16 | 0:13:19 | |
Here, the bowl's green. | 0:13:23 | 0:13:27 | |
But here, it's blue. | 0:13:27 | 0:13:30 | |
And thanks to that error, I've gone from a pasty hue of pink to bright red which rage. | 0:13:30 | 0:13:35 | |
Clothes. | 0:13:38 | 0:13:40 | |
You might not think it, but clothes are probably the most important thing in the Hollywood machine. | 0:13:40 | 0:13:44 | |
If actors don't look the part, the magic is lost, so these clips... | 0:13:44 | 0:13:48 | |
Actually, hang on, I suppose cameras are quite important, too. | 0:13:48 | 0:13:51 | |
And actors, I mean, they're kind of crucial. But anyway, clothes are, | 0:13:51 | 0:13:54 | |
if not THE most important bit of the Hollywood machine, certainly right up there. | 0:13:54 | 0:13:59 | |
So these clips... Wait a minute. What about funding? | 0:13:59 | 0:14:01 | |
Then there's post-production and editing, marketing and the script. | 0:14:01 | 0:14:07 | |
Let's just say these next blunders are all to do with clothes. | 0:14:07 | 0:14:12 | |
Clothes. | 0:14:12 | 0:14:15 | |
First up, the haunting majesty of Mamma Mia. | 0:14:18 | 0:14:21 | |
In Lay All Your Love On Me, Sophie looks | 0:14:21 | 0:14:24 | |
to be wearing a very pretty swimsuit. | 0:14:24 | 0:14:26 | |
But in this shot, she's ruined the look | 0:14:26 | 0:14:28 | |
with a pair of black trousers. See? | 0:14:28 | 0:14:32 | |
I don't know what these guys are up to. | 0:14:35 | 0:14:38 | |
This is Vanilla Sky and no-one's suggesting that | 0:14:42 | 0:14:45 | |
Tom's religious beliefs give him magical powers. | 0:14:45 | 0:14:47 | |
However, he starts with naked legs, then... | 0:14:49 | 0:14:53 | |
Look, he's got his jim-jams on. | 0:14:53 | 0:14:56 | |
I am at a loss to explain that. | 0:14:56 | 0:14:58 | |
Fight Club now. Watch here as Meatloaf's trousers fall down. Oops! | 0:15:01 | 0:15:06 | |
That's worth another look. | 0:15:06 | 0:15:08 | |
Not only do they fall down, | 0:15:11 | 0:15:12 | |
but also reveal him to be wearing a fat suit. | 0:15:12 | 0:15:15 | |
First rule of Fight Club - get Meatloaf to buy a ruddy belt. | 0:15:15 | 0:15:19 | |
The Curious Case Of Benjamin Button now. | 0:15:24 | 0:15:27 | |
Or the curious case of the unbuttoned body warmer. | 0:15:27 | 0:15:31 | |
Nobody seems to know whether to stay or leave. | 0:15:31 | 0:15:34 | |
See her how Caroline carefully removes her top and throws it down for all to see? | 0:15:34 | 0:15:39 | |
Then it's back on. | 0:15:44 | 0:15:46 | |
Weird. | 0:15:46 | 0:15:47 | |
In this scene from King Kong, Anne is trying to escape from a T Rex. | 0:15:51 | 0:15:57 | |
Well, you would, wouldn't you? She slides on her butt and gets a muddy stain all over it. | 0:15:57 | 0:16:02 | |
Oh, look, it's covered! | 0:16:06 | 0:16:08 | |
But in the next shot, check out her backside. It's laundry fresh. | 0:16:08 | 0:16:12 | |
Now stop staring at it. | 0:16:12 | 0:16:16 | |
This is Nacho Libre. | 0:16:19 | 0:16:21 | |
Watch what the boys at home are wearing. | 0:16:22 | 0:16:25 | |
Coloured T-shirts and shirts. | 0:16:25 | 0:16:28 | |
But a split second later, they're all in vests. | 0:16:28 | 0:16:31 | |
Poor little fellas. | 0:16:31 | 0:16:34 | |
John Tucker Must Die, if only cos he makes silly continuity errors. | 0:16:37 | 0:16:41 | |
Look at his headband, it's black as the night. | 0:16:41 | 0:16:44 | |
Or is it? | 0:16:44 | 0:16:47 | |
Because that looks distinctly red to me. | 0:16:47 | 0:16:49 | |
And how it's black again. He really must die. | 0:16:50 | 0:16:55 | |
More than two decades after its first movie, the Indiana Jones franchise just keeps on going, | 0:16:57 | 0:17:02 | |
which is more than you can say for Harrison Ford's gammy hip. | 0:17:02 | 0:17:06 | |
Bless him, he's getting on. I think it's time he gave it a rest. | 0:17:06 | 0:17:09 | |
The only time Indiana should be searching for ancient manuscripts | 0:17:09 | 0:17:12 | |
is when he ventures into the attic to find his birth certificate. | 0:17:12 | 0:17:15 | |
And I can only think it's his advancing years | 0:17:15 | 0:17:18 | |
that have allowed all these mistakes to make the final cut. | 0:17:18 | 0:17:21 | |
If my mom doesn't find it, they'll kill them both. | 0:17:23 | 0:17:26 | |
Apart from the first three, this is definitely my favourite Indy film. | 0:17:26 | 0:17:29 | |
But keep your eyes on the sauce bottles after Mutt - | 0:17:29 | 0:17:34 | |
- yes, that's really what he's called, Mutt - knocks them over. | 0:17:34 | 0:17:37 | |
They go from lying down to standing up. | 0:17:37 | 0:17:40 | |
You don't have to get sore all the time... | 0:17:40 | 0:17:43 | |
And, you've guessed it, kiddo. | 0:17:43 | 0:17:45 | |
They're lying down again. | 0:17:45 | 0:17:47 | |
I can only pray to God that none of it was spilled. | 0:17:47 | 0:17:49 | |
You know those times when you tie your shoelaces and end up thinking, | 0:17:52 | 0:17:55 | |
"Blimey, I'm glad I did that, otherwise I would have been shot." | 0:17:55 | 0:17:59 | |
He knows what I'm talking about. But did you spot the gaffe? | 0:18:00 | 0:18:03 | |
The two Russians on the right have run out of ammo but keep firing. | 0:18:11 | 0:18:15 | |
We're going to go back to the first three Indy films, but be warned, | 0:18:18 | 0:18:22 | |
Dr Jones was as gaffe-prone then as he is now. | 0:18:22 | 0:18:26 | |
In this scene from Raiders Of The Lost Ark, | 0:18:29 | 0:18:32 | |
as Indy gets seven bells leathered out of him by a chunky Nazi, | 0:18:32 | 0:18:35 | |
Marion tries to help out by taxiing a light aircraft towards them. | 0:18:35 | 0:18:40 | |
Lord knows why. | 0:18:40 | 0:18:42 | |
But look carefully and you can see the crew | 0:18:42 | 0:18:44 | |
reflected in the windscreen of the plane. There we are. | 0:18:44 | 0:18:48 | |
And they just stand there while Indy takes a beating. Spineless. | 0:18:49 | 0:18:54 | |
Indiana Jones, who claims to be an archaeologist, bashes his way | 0:18:59 | 0:19:01 | |
out of an ancient Egyptian temple without a second thought. | 0:19:01 | 0:19:05 | |
Criminal. | 0:19:07 | 0:19:09 | |
This building was built more than 2,000 years ago. | 0:19:11 | 0:19:14 | |
You'd think it was made out of stone or something but, no, | 0:19:14 | 0:19:17 | |
these blocks seem to be made out of a rubbery polystyrene substance that bounces. | 0:19:17 | 0:19:22 | |
Boing, boing. | 0:19:22 | 0:19:24 | |
Cairo, 1936. | 0:19:28 | 0:19:30 | |
As Indiana Jones sits around getting spannered - well, he is on holiday - | 0:19:30 | 0:19:34 | |
those in the background act as you would in 1930s Egypt, | 0:19:34 | 0:19:37 | |
walking like Egyptians and that, | 0:19:37 | 0:19:39 | |
while dressing in traditional costume. | 0:19:39 | 0:19:41 | |
Apart from this spoilsport in T-shirt and jeans, who ruins | 0:19:43 | 0:19:48 | |
the entire Indiana Jones franchise for every single one of us. | 0:19:48 | 0:19:52 | |
Even the monkey's disgusted. | 0:19:52 | 0:19:54 | |
Some clangers in this one, too. We're looking at the backgrounds | 0:19:59 | 0:20:02 | |
as they inexplicably change from trees to rocks. | 0:20:02 | 0:20:05 | |
Trees. Rocks. | 0:20:05 | 0:20:07 | |
It's a journey about as realistic as an animatronic rhino. | 0:20:09 | 0:20:13 | |
Oh, look, now we're back to trees. | 0:20:17 | 0:20:20 | |
What's this? A guest appearance from some fields, too. | 0:20:27 | 0:20:30 | |
Backdrops later in that scene | 0:20:32 | 0:20:34 | |
include swamp, ocean, space, Arctic tundra and Warrington. | 0:20:34 | 0:20:38 | |
This is The Last Crusade. | 0:20:44 | 0:20:47 | |
Watch the length of Connery's beard | 0:20:49 | 0:20:51 | |
after Indiana has apparently plunged to his death. | 0:20:51 | 0:20:54 | |
Oh, God, | 0:20:54 | 0:20:56 | |
I've lost him. | 0:20:56 | 0:20:58 | |
A few moments later, and ding! | 0:21:00 | 0:21:03 | |
The grief has caused much of the hair to retreat back into his face. | 0:21:03 | 0:21:07 | |
It can do that, apparently. | 0:21:07 | 0:21:09 | |
An anachronism is a chronological error, a detail in a story that is | 0:21:11 | 0:21:16 | |
at odds with the time in which that story is set. | 0:21:16 | 0:21:19 | |
One example would be a dinosaur driving a Fiat Punto, another would be Boris Johnson's hairdo. | 0:21:19 | 0:21:25 | |
Here are some movie anachronisms I found on a DVD a friend gave to me 20 years ago. | 0:21:25 | 0:21:31 | |
Ha! Yes, you spotted it. I didn't have any friends 20 years ago. | 0:21:31 | 0:21:36 | |
This Gangs Of New York clip is a personal favourite. | 0:21:40 | 0:21:44 | |
As the fight kicks off, you can see a couple of bananas on the floor. | 0:21:44 | 0:21:47 | |
And yet, bananas were not traded in pre-Civil War USA at all. | 0:21:50 | 0:21:54 | |
But, heck, you don't need me to tell you that basic fruit fact. | 0:21:54 | 0:21:58 | |
I'm talking about an alliance between our two great organisations. | 0:22:00 | 0:22:03 | |
Same movie here, and another kick in the nuts | 0:22:03 | 0:22:06 | |
for our old friend historical accuracy. Sorry, pal. | 0:22:06 | 0:22:09 | |
We're about to see a paperclip in a scene set in the 1860s, | 0:22:09 | 0:22:13 | |
even though they weren't invented until 1899. | 0:22:13 | 0:22:16 | |
There it is. Don't worry, historical accuracy, | 0:22:17 | 0:22:20 | |
your balls will stop aching soon. | 0:22:20 | 0:22:21 | |
Just dunk them in a bowl of warm water. | 0:22:21 | 0:22:25 | |
In American Gangster, set in the 1970s, remember, | 0:22:27 | 0:22:30 | |
we can see a poster in the background | 0:22:30 | 0:22:32 | |
with a blooming great web address on it. | 0:22:32 | 0:22:35 | |
Yeah, you might as well hang up, Denzel. It's ruined now. | 0:22:35 | 0:22:38 | |
Walk The Line now, and we can see a 1960s VW Beetle in the background. | 0:22:42 | 0:22:48 | |
What's a 1960s VW Beetle doing in Germany in 1952? | 0:22:48 | 0:22:52 | |
Making me very angry indeed, that's what. | 0:22:53 | 0:22:56 | |
Rousseau says, if we assume man has been corrupted | 0:22:58 | 0:23:01 | |
by an artificial civilisation... | 0:23:01 | 0:23:04 | |
Period flick Marie Antoinette here, and as these ladies chill out | 0:23:04 | 0:23:07 | |
in some sort of meadow, keep your eyes on the skies. | 0:23:07 | 0:23:11 | |
Ah. The vapour or contrail of an aeroplane. | 0:23:11 | 0:23:16 | |
That's right, one of them jet planes they used to have in the late 18th century. | 0:23:16 | 0:23:21 | |
Here's a cheery little scene from The Other Boleyn Girl. | 0:23:24 | 0:23:27 | |
Mary's coming along to see her sister Anne get beheaded. | 0:23:27 | 0:23:30 | |
But it's not the horrific sight of her sister's head leaving her body that just made Mary wince. | 0:23:32 | 0:23:37 | |
She's just spotted the unforgivable gaffe. | 0:23:37 | 0:23:39 | |
Let's look again. | 0:23:39 | 0:23:41 | |
This film is set in 1536, but look on the wall behind the executioner. | 0:23:42 | 0:23:48 | |
That's a modern metal drainpipe. | 0:23:48 | 0:23:50 | |
Heads rolled for this one. | 0:23:50 | 0:23:52 | |
Ah, Britain. Britain, Britain, Britain. Home to some of the greatest movies of all time. | 0:23:56 | 0:24:03 | |
So it seems unbelievable that a country that gave the world Lawrence Of Arabia, Brief Encounter, | 0:24:03 | 0:24:08 | |
Chariots Of Fire and Magicians could produce a film with a single sub-standard moment in it. | 0:24:08 | 0:24:13 | |
Fans of the film Confetti might have spotted that | 0:24:13 | 0:24:16 | |
I made the basic error of spending the whole film with my penis out. | 0:24:16 | 0:24:20 | |
Ruddy costume department! | 0:24:20 | 0:24:22 | |
Yes, prepare to have your patriotism smashed into a million pieces, | 0:24:22 | 0:24:26 | |
because, if you're anything like me, | 0:24:26 | 0:24:29 | |
these shameful movie mistakes will have you curling up | 0:24:29 | 0:24:32 | |
in your Union Flag duvet and crying yourself to sleep. | 0:24:32 | 0:24:35 | |
Ah, St Trinian's, | 0:24:39 | 0:24:41 | |
a movie loved by teenage girls and middle-aged men alike. | 0:24:41 | 0:24:45 | |
In this one, Colin Firth dips his forefinger into the beaker of vodka, | 0:24:45 | 0:24:49 | |
but then licks his middle finger. | 0:24:49 | 0:24:52 | |
The dirty beggar. | 0:24:52 | 0:24:53 | |
And now he's staggering around | 0:24:59 | 0:25:01 | |
like a teenage binge drinker at kicking-out time. | 0:25:01 | 0:25:05 | |
What a lightweight. | 0:25:05 | 0:25:07 | |
Sticking with St Trinian's, and the cable the girls are crawling along | 0:25:10 | 0:25:13 | |
goes from above the audience, here, | 0:25:13 | 0:25:15 | |
to behind Stephen Fry on stage, here. | 0:25:15 | 0:25:18 | |
Look, from above, national treasure Stephen | 0:25:22 | 0:25:24 | |
is clearly out of the drop zone. | 0:25:24 | 0:25:26 | |
If they fell here, they would kill one of the nation's best-loved celebrities. | 0:25:26 | 0:25:30 | |
Whereas, if they fell over the audience, | 0:25:30 | 0:25:32 | |
it would just be six or seven extras. | 0:25:32 | 0:25:34 | |
The brilliant Shaun Of The Dead. | 0:25:37 | 0:25:40 | |
Quentin Tarantino's favourite British film of all time. | 0:25:40 | 0:25:45 | |
A judgment Quentin might reconsider when I point this baby out. | 0:25:45 | 0:25:49 | |
Look, Simon Pegg's name tag is fully visible here. | 0:25:49 | 0:25:53 | |
Moments later, after shooting the breeze with Jessica Stevenson, | 0:25:53 | 0:25:58 | |
it's covered up by his jacket. | 0:25:58 | 0:25:59 | |
Are you having that, Quentin? | 0:25:59 | 0:26:01 | |
Three years ago last week, actually. | 0:26:01 | 0:26:04 | |
I like this one. | 0:26:07 | 0:26:09 | |
Can you see anything funny? Have another look. | 0:26:10 | 0:26:13 | |
Nick Frost doesn't actually pick up the ashtray. | 0:26:15 | 0:26:19 | |
His hand is empty. | 0:26:19 | 0:26:20 | |
Apologies, Nick, but you've just been comprehensively outmanoeuvred | 0:26:20 | 0:26:24 | |
by the BBC's slow-motion technology. | 0:26:24 | 0:26:26 | |
Sexy Beast, in which Ray Winstone plays radically against type, | 0:26:30 | 0:26:34 | |
by portraying a Cockney geezer. | 0:26:34 | 0:26:37 | |
Watch this boulder. | 0:26:37 | 0:26:39 | |
It comes rolling down the hill and leaps over his right shoulder, | 0:26:39 | 0:26:43 | |
but then lands over his left shoulder. | 0:26:43 | 0:26:45 | |
Fans of celluloid geological faux pas can enjoy this again. | 0:26:47 | 0:26:52 | |
Over his right there... | 0:26:53 | 0:26:55 | |
and there... | 0:26:55 | 0:26:57 | |
but now over his left. | 0:26:57 | 0:26:58 | |
In your face, Winstone. | 0:27:00 | 0:27:02 | |
With Richard Curtis and Hugh Grant on the scene, it's easy | 0:27:05 | 0:27:08 | |
to be fooled into thinking we Brits are the masters of making rom-coms. | 0:27:08 | 0:27:13 | |
But as these errors demonstrate, we're not! | 0:27:13 | 0:27:16 | |
This is rom-com classic Notting Hill, which, as you're about to see, | 0:27:19 | 0:27:23 | |
features a kid crying for an entire year. | 0:27:23 | 0:27:26 | |
At the start of the film, Hugh Grant walks towards his bookshop | 0:27:27 | 0:27:30 | |
and there's a mother consoling her weeping child in the alley. | 0:27:30 | 0:27:33 | |
20 minutes into the film, Hugh's met Julia Roberts, fallen in love and is watching her films. | 0:27:35 | 0:27:41 | |
Fairly...fabulous. | 0:27:41 | 0:27:43 | |
And cut to his bookshop. | 0:27:43 | 0:27:45 | |
Who's this? It's the same woman and child | 0:27:45 | 0:27:48 | |
and she's still crying. Boo-hoo. | 0:27:48 | 0:27:51 | |
Then another hour into the movie, and he's met Julia, | 0:27:51 | 0:27:55 | |
they've got together, they split up, as couples often do. | 0:27:55 | 0:27:57 | |
A whole year has passed. | 0:27:57 | 0:28:01 | |
But, as we once more cut to the shop, that child is still sobbing. | 0:28:01 | 0:28:06 | |
The mother is a patient woman, but could have nipped the whole thing | 0:28:06 | 0:28:09 | |
in the bud, with a quick 'shut up'. | 0:28:09 | 0:28:11 | |
This is Wimbledon, the film, not the area. | 0:28:15 | 0:28:18 | |
Watch as Peter throws a cushion at his brother, which lands in his lap. | 0:28:20 | 0:28:24 | |
But now it's gone. | 0:28:24 | 0:28:26 | |
I can only think it dissolved into his groin. Urgh! | 0:28:26 | 0:28:29 | |
This film really hasn't covered itself in glory. | 0:28:33 | 0:28:35 | |
Here's another boob. | 0:28:35 | 0:28:37 | |
When Peter and Lizzie start to kiss, there's a bus miles behind them. | 0:28:41 | 0:28:46 | |
But what's this? As Lizzie's randy disregard for road safety | 0:28:46 | 0:28:50 | |
makes him swerve about, the bus is suddenly right up their backside. | 0:28:50 | 0:28:54 | |
For those of you who have not seen the film, Iron Man | 0:28:56 | 0:28:59 | |
is the heart-warming story of a Morphy Richards steam iron that turns into a real little boy. | 0:28:59 | 0:29:04 | |
And if it's not, hands off, because that's my idea! | 0:29:04 | 0:29:07 | |
The film also stars Robert Downey Jr as a military engineer who builds himself a protective iron suit. | 0:29:07 | 0:29:13 | |
I only hope it's thick enough to protect his feelings as well, | 0:29:13 | 0:29:16 | |
because Robert, we have found some errors in your movie film. | 0:29:16 | 0:29:20 | |
Look how Tony Stark's personal secretary Pepper | 0:29:24 | 0:29:27 | |
shoves in the arc reactor chest piece. | 0:29:27 | 0:29:30 | |
Or for my money, the distributor cap on a Ford Mondeo. | 0:29:30 | 0:29:34 | |
Here, and again here. | 0:29:34 | 0:29:37 | |
Nice. | 0:29:40 | 0:29:42 | |
No, not nice at all, Iron Man. | 0:29:42 | 0:29:44 | |
In this scene, Pepper might look like a technological whiz, | 0:29:45 | 0:29:50 | |
but she's not. | 0:29:50 | 0:29:52 | |
See her hands-free earpiece? | 0:29:52 | 0:29:54 | |
When she takes a call from Tony and really needs it, it's gone. | 0:29:54 | 0:29:59 | |
For a personal secretary, she's got a shocking understanding | 0:29:59 | 0:30:04 | |
of hands-free telecommunications. | 0:30:04 | 0:30:06 | |
I tell you what I hate about Iron Man's Tony Stark, | 0:30:08 | 0:30:12 | |
he drives around without a front registration plate. | 0:30:12 | 0:30:15 | |
Because not only is it illegal and stupid, it's also downright... | 0:30:17 | 0:30:21 | |
Oh, there it is. | 0:30:21 | 0:30:22 | |
Tell you what I love about Iron Man's Tony Stark... | 0:30:24 | 0:30:28 | |
Look at this one. | 0:30:32 | 0:30:34 | |
There are two Humvees in convoy, one in the front gets blown up. | 0:30:37 | 0:30:42 | |
The next shot shows the one behind exploding. | 0:30:42 | 0:30:47 | |
-What's going on? -Yes, what is going on? | 0:30:47 | 0:30:51 | |
The most obvious error in the film Twilight is that it involves teenagers sucking each other's necks | 0:30:53 | 0:30:58 | |
and yet it doesn't feature a single love bite. | 0:30:58 | 0:31:01 | |
Not exactly realistic. | 0:31:01 | 0:31:03 | |
In this film, they actually pierce the skin and suck the blood out, | 0:31:03 | 0:31:06 | |
which I always found was a sure-fire way of souring a first date. | 0:31:06 | 0:31:10 | |
Here are some other errors that sour this film. Hoho! | 0:31:10 | 0:31:14 | |
This is Bella, and she has been beaten up by a vampire. | 0:31:16 | 0:31:21 | |
If that nasal cannula keeps changing position, | 0:31:21 | 0:31:23 | |
she won't make a speedy recovery. | 0:31:23 | 0:31:26 | |
Here, the tubes are right by her eyes. | 0:31:26 | 0:31:29 | |
Then suddenly, they are halfway down her cheeks. | 0:31:29 | 0:31:34 | |
Then they're back again and how much does Edward care? | 0:31:34 | 0:31:38 | |
Not much. | 0:31:38 | 0:31:39 | |
I've killed people before. | 0:31:41 | 0:31:44 | |
In this one, Edward's mouth moves but no words come out. | 0:31:44 | 0:31:47 | |
Let's see that again. | 0:31:52 | 0:31:56 | |
Is he chewing the air or is he performing a short lip dance? Hard to say. | 0:31:56 | 0:32:01 | |
More lip dancing issues | 0:32:04 | 0:32:06 | |
as our two lovers smooch under the stars. | 0:32:06 | 0:32:09 | |
Edward's mouth moves, and no words come out again. | 0:32:09 | 0:32:12 | |
Spit it out, mate. | 0:32:15 | 0:32:17 | |
-I'm not going... -At last. | 0:32:19 | 0:32:22 | |
In the olden days, before the dawn of internet piracy, movie fans | 0:32:24 | 0:32:27 | |
would gather in big rooms - they were called cinemas - and tried to watch the movie while a fat kid | 0:32:27 | 0:32:33 | |
rustled his bag of sweets all the way through. | 0:32:33 | 0:32:35 | |
This noisy distraction made it impossible to pay any real attention, | 0:32:35 | 0:32:39 | |
meaning film-makers could leave in as many errors as they liked. | 0:32:39 | 0:32:43 | |
And they jolly well did! | 0:32:43 | 0:32:45 | |
This is a brilliant one from early classic King Kong. | 0:32:48 | 0:32:52 | |
Watch this guy jump out of his hut, | 0:32:55 | 0:32:57 | |
lose his balance and fall into a chicken coop. | 0:32:57 | 0:33:00 | |
His wig even comes off and get caught in the fence. | 0:33:00 | 0:33:04 | |
This is the Invisible Man, wearing a white shirt | 0:33:05 | 0:33:09 | |
and getting chased round and round some furniture by the rozzers. | 0:33:09 | 0:33:15 | |
Later on in the film, he's taken off all his clothes so he can't be seen at all. Genius. | 0:33:15 | 0:33:19 | |
But hang on, when his footprints appear in the snow, they are | 0:33:19 | 0:33:23 | |
in the shape of shoes, so presumably we should be seeing these shoes? | 0:33:23 | 0:33:28 | |
You don't fool me, Mr Invisible Man, I can see right through you, | 0:33:28 | 0:33:31 | |
and unfortunately, so did the police. | 0:33:31 | 0:33:34 | |
Casablanca, and here comes a character who claims | 0:33:36 | 0:33:40 | |
to be a major, but his uniform | 0:33:40 | 0:33:44 | |
can't make its mind up. | 0:33:44 | 0:33:46 | |
Look at his shoulders, no major's epaulettes there. | 0:33:46 | 0:33:50 | |
There they are. And now they've gone. | 0:33:53 | 0:33:57 | |
And then he gets on the blower and they're back. | 0:34:01 | 0:34:06 | |
-GUNSHOTS -Congratulations, you are a major. | 0:34:06 | 0:34:09 | |
Oh, you're dead. | 0:34:09 | 0:34:10 | |
Some Like It Hot, a classic movie | 0:34:16 | 0:34:19 | |
and a pretty good serving suggestion for porridge. | 0:34:19 | 0:34:22 | |
In this, the opening chase scene, police pursue a band of bootleggers. | 0:34:22 | 0:34:26 | |
When the whisky-filled coffin is hit by bullets, | 0:34:26 | 0:34:29 | |
whisky flows out of the holes, | 0:34:29 | 0:34:31 | |
but it flows out of the lid, which is above the level of the liquid. | 0:34:31 | 0:34:36 | |
Some Like It Hot, some like it scientifically accurate, too. | 0:34:36 | 0:34:40 | |
Today, it takes nine months for a baby to be born. | 0:34:43 | 0:34:47 | |
Back in the days of Gone With The Wind, | 0:34:47 | 0:34:49 | |
it was all over in a split second. | 0:34:49 | 0:34:52 | |
In this scene, Melanie is standing on the stairs with empty hands. | 0:34:52 | 0:34:55 | |
But keep watching. | 0:34:55 | 0:34:58 | |
He's surrendered. | 0:34:58 | 0:35:00 | |
She is now carrying a bouncing baby. | 0:35:02 | 0:35:05 | |
Quick, towels and hot water. | 0:35:05 | 0:35:07 | |
Here, Ashley is brought back wounded, with a ruptured haircut. | 0:35:11 | 0:35:14 | |
Melanie grabs a lamp to follow them to the bedroom, | 0:35:14 | 0:35:20 | |
but can you see an electrical cord hanging down? In 1860? | 0:35:20 | 0:35:25 | |
Classic horror flick The Wizard of Oz, | 0:35:27 | 0:35:31 | |
and it's hair problems for Dorothy. | 0:35:31 | 0:35:35 | |
-I didn't scare ya? -In one shot, | 0:35:35 | 0:35:38 | |
her pigtails are quite short... | 0:35:38 | 0:35:41 | |
I didn't think so! | 0:35:41 | 0:35:44 | |
But in the other, her hair cascades right down to her bosom area. | 0:35:44 | 0:35:48 | |
It's not the scarecrow who needs a brain! | 0:35:48 | 0:35:51 | |
This one's a belter, too. | 0:35:54 | 0:35:55 | |
It's Carey Grant in Hitchcock's North By Northwest. | 0:35:55 | 0:35:59 | |
The policeman in the back forgets to lean as they simulate a turn. | 0:35:59 | 0:36:03 | |
Carey gives him a prod and a dirty look. | 0:36:03 | 0:36:06 | |
-Where are we going? -Airport. | 0:36:06 | 0:36:08 | |
-For what? -Orders. | 0:36:08 | 0:36:09 | |
Yeah, that's definitely worth another watch. | 0:36:09 | 0:36:11 | |
-Where are we going? -Airport. | 0:36:15 | 0:36:17 | |
They say the old ones are the best, and this is one | 0:36:17 | 0:36:19 | |
of the very rare occasions where that's actually true. | 0:36:19 | 0:36:22 | |
I don't want to be taken to an airport. I want police headquarters! | 0:36:22 | 0:36:25 | |
This is EastEnders spin-off Breakfast At Tiffany's. | 0:36:30 | 0:36:33 | |
And watch George Peppard's hair. | 0:36:33 | 0:36:35 | |
When we first see him, it's combed to the side. | 0:36:38 | 0:36:40 | |
He stands there in the pouring rain, watching Audrey Hepburn desperately | 0:36:42 | 0:36:46 | |
trying to keep her pussy dry, and thinking how much he loves it when a plan comes together. | 0:36:46 | 0:36:50 | |
And then we cut back to him, and it's slicked back. | 0:36:59 | 0:37:03 | |
Now it's to the side again. | 0:37:06 | 0:37:08 | |
Crazy fool! | 0:37:08 | 0:37:11 | |
Now, as if you already weren't, let's have a look at Hepburn's ears. | 0:37:14 | 0:37:18 | |
She has a tasselled earplug in one, but not in the other. | 0:37:20 | 0:37:24 | |
All right, keep your misbehaving hair on! | 0:37:24 | 0:37:28 | |
But when she goes to open the door to Hannibal Smith, she inexplicably has plugs in both ears. | 0:37:30 | 0:37:35 | |
Maybe she can't abide Hannibal's incessant talking. | 0:37:41 | 0:37:44 | |
I am sorry to bother you... | 0:37:44 | 0:37:47 | |
Gladiator now. | 0:37:47 | 0:37:49 | |
An epic about a man who wins the hearts and minds of the fickle | 0:37:49 | 0:37:52 | |
public by bravely fighting humans and wild animals with his top off. | 0:37:52 | 0:37:56 | |
Do that in a Hollywood film and you are a hero. | 0:37:56 | 0:37:59 | |
Try doing it in a pub car park after closing time, and see who's on your side then. | 0:37:59 | 0:38:03 | |
Those galling double standards aside, this film is a Mistakeus Maximus. | 0:38:03 | 0:38:08 | |
Errors everywhere, as we shall now demonstrate. | 0:38:08 | 0:38:11 | |
It's the morning after the big battle, when the film-makers | 0:38:15 | 0:38:17 | |
have gone to great lengths to ensure the scene looks realistic. | 0:38:17 | 0:38:20 | |
Oh, there's a man in jeans trying to creep unnoticed out of shot. | 0:38:22 | 0:38:28 | |
That's definitely worth another look. | 0:38:28 | 0:38:30 | |
Thanks for stinking the scene out, mate. | 0:38:30 | 0:38:33 | |
Here's Maximus taking the unusual step | 0:38:36 | 0:38:38 | |
of demanding a review in the middle of the film. | 0:38:38 | 0:38:41 | |
-Are you not entertained? -'Yes, Maximus.' -Are you not entertained? | 0:38:41 | 0:38:45 | |
We're entertained. | 0:38:45 | 0:38:48 | |
Is this not why you are here? | 0:38:48 | 0:38:51 | |
Are you not entertained? | 0:38:51 | 0:38:53 | |
Or we were, before this bloke in jeans wandered into the shot. | 0:38:53 | 0:38:56 | |
-Are you not entertained? -That sort of ruined it for me. | 0:38:56 | 0:38:59 | |
I don't care how seriously it takes itself, | 0:39:02 | 0:39:04 | |
I'm pointing this mistake out. | 0:39:04 | 0:39:05 | |
It's supposed to be 2,000 years ago, | 0:39:09 | 0:39:11 | |
so why has this chariot got a gas canister strapped on the back? | 0:39:11 | 0:39:15 | |
That's what I call a Mistakeus Maximus. | 0:39:15 | 0:39:18 | |
As well as inventing viaducts, roads and a modern legal system, | 0:39:22 | 0:39:25 | |
the Romans apparently invented rubber-soled boots. | 0:39:25 | 0:39:27 | |
If not, why is this soldier wearing them? | 0:39:27 | 0:39:30 | |
Hm? Ah? Why? Hm? Yeah? | 0:39:30 | 0:39:32 | |
Those of you who spent the entire film worrying that | 0:39:34 | 0:39:37 | |
these spiked helmets will have someone's eye out, fear not. | 0:39:37 | 0:39:42 | |
As this clip shows, the spike's just made of floppy rubber. | 0:39:42 | 0:39:45 | |
A bit like a Teletubby, I suppose. | 0:39:45 | 0:39:47 | |
Here, Maximus is being pestered by an over-amorous tiger. | 0:39:52 | 0:39:55 | |
Well, we have all been there. He manages to roll the beast off him. | 0:39:55 | 0:39:58 | |
See? | 0:39:58 | 0:40:00 | |
But, er, it's still on him. | 0:40:02 | 0:40:07 | |
He probably clambered back under it when he realised how cuddly it was. | 0:40:07 | 0:40:11 | |
This is the big finale, | 0:40:16 | 0:40:18 | |
and the fight to the death between Maximus and Commodus. | 0:40:18 | 0:40:22 | |
But I have got a funny feeling they are both going to be OK, | 0:40:22 | 0:40:25 | |
because it's a bendy knife. | 0:40:25 | 0:40:27 | |
Look, it's rubber. | 0:40:27 | 0:40:30 | |
The Simpsons now. | 0:40:32 | 0:40:33 | |
From its humble beginnings | 0:40:33 | 0:40:34 | |
as a five-minute slot on The Tracey Ullman Show, | 0:40:34 | 0:40:37 | |
its custard-coloured stars have become showbiz royalty. | 0:40:37 | 0:40:40 | |
Their success is not only a credit to the show's wonderful writing, | 0:40:40 | 0:40:43 | |
but also one in the eye for anyone who believes that a town suffering | 0:40:43 | 0:40:47 | |
from an endemic jaundice problem cannot prosper and thrive. | 0:40:47 | 0:40:50 | |
Sadly, though, when it came to finally make The Simpsons Movie, | 0:40:50 | 0:40:53 | |
the continuity checking was as duff as the beer that Homer | 0:40:53 | 0:40:57 | |
swallows down into his fat, yellow tummy each and every day. | 0:40:57 | 0:41:00 | |
You know, it's the law. | 0:41:02 | 0:41:03 | |
When rumours emerged that The Simpsons Movie was going to | 0:41:03 | 0:41:06 | |
feature shots of Bart Simpson naked, | 0:41:06 | 0:41:08 | |
weird animation perverts flocked to the cinemas in their thousands. | 0:41:08 | 0:41:12 | |
Imagine their disappointment when this blade of grass appeared | 0:41:12 | 0:41:15 | |
out of nowhere to spoil their sick enjoyment. | 0:41:15 | 0:41:17 | |
Ha, ha! Ha, ha! | 0:41:17 | 0:41:19 | |
No sign of it there. | 0:41:21 | 0:41:23 | |
Lunchtime! | 0:41:26 | 0:41:28 | |
You can't just leave me out here. | 0:41:28 | 0:41:31 | |
And then, bam. | 0:41:31 | 0:41:32 | |
I'm glad somebody finds it funny. | 0:41:32 | 0:41:34 | |
Ha, ha! Ha, ha! Ha, ha! | 0:41:34 | 0:41:36 | |
Who could forget the character of Jeff Albertson? Oh, all of you. | 0:41:39 | 0:41:43 | |
He's better-known as Comic Book Guy. | 0:41:43 | 0:41:46 | |
Or should that be Comic Book Guys? | 0:41:46 | 0:41:48 | |
See how he's standing next to Homer here? | 0:41:48 | 0:41:51 | |
Now Homer zooms off down the road to collect Marge, | 0:41:54 | 0:41:57 | |
and he's standing next to her, too! | 0:41:57 | 0:41:59 | |
A rare animated doppelganger. | 0:41:59 | 0:42:02 | |
One of the reasons films these days feature less fags and booze | 0:42:04 | 0:42:08 | |
is because they do not want to encourage young people | 0:42:08 | 0:42:10 | |
to take up such nasty habits. | 0:42:10 | 0:42:12 | |
That's not the main reason, though. | 0:42:12 | 0:42:14 | |
The main reason is if you crack open any booze on set, | 0:42:14 | 0:42:18 | |
the whole crew gets absolutely rat-brained | 0:42:18 | 0:42:20 | |
and starts making basic, basic errors, like these. | 0:42:20 | 0:42:24 | |
Your maid of honour! | 0:42:26 | 0:42:27 | |
It's going to be great. | 0:42:27 | 0:42:29 | |
This is classic, classic movie Bride Wars. | 0:42:29 | 0:42:31 | |
Look what Deb is holding. | 0:42:31 | 0:42:33 | |
A wine glass | 0:42:33 | 0:42:35 | |
and a bottle with a white label. | 0:42:35 | 0:42:37 | |
Hey, can I make a suggestion? | 0:42:37 | 0:42:40 | |
But now it appears to be a champagne flute of wine, | 0:42:40 | 0:42:43 | |
and a bottle with a yellow label. | 0:42:43 | 0:42:45 | |
This is really nice white wine. | 0:42:45 | 0:42:46 | |
This is making me feel drunk. | 0:42:46 | 0:42:48 | |
This is a thinly disguised tourism advert for Australia. | 0:42:50 | 0:42:55 | |
Watch the bottle go from plump and full to thin and empty. | 0:42:57 | 0:43:01 | |
And back again. | 0:43:01 | 0:43:02 | |
Let's have a look at that again. | 0:43:04 | 0:43:06 | |
Full. | 0:43:07 | 0:43:09 | |
Empty. | 0:43:12 | 0:43:14 | |
This film is Superbad. | 0:43:21 | 0:43:22 | |
See how the dancing, grinding, sexy lady girl | 0:43:22 | 0:43:25 | |
is holding a bottle of alcopop. | 0:43:25 | 0:43:27 | |
And now look closely... | 0:43:27 | 0:43:30 | |
She's not holding it. | 0:43:30 | 0:43:32 | |
Hey! You dance hot! | 0:43:32 | 0:43:36 | |
Thank you. | 0:43:38 | 0:43:39 | |
And now she is. | 0:43:39 | 0:43:41 | |
She can try distracting me with her lascivious dancing all she wants, | 0:43:41 | 0:43:44 | |
but... Oh, crumbs, she is quite nice. | 0:43:44 | 0:43:46 | |
Something they don't tell you in the church... | 0:43:48 | 0:43:51 | |
This is The Departed with Jack Nicholson. | 0:43:51 | 0:43:53 | |
Ever seen a man eat a cigarette in less than a tenth of a second? | 0:43:53 | 0:43:57 | |
..What I'm saying to you is this... | 0:43:57 | 0:43:59 | |
Well, you have now. | 0:43:59 | 0:44:01 | |
School? | 0:44:04 | 0:44:05 | |
This is Leo DiCaprio in the same film. | 0:44:05 | 0:44:07 | |
Ever seen a man inhale then start blowing smoke rings | 0:44:07 | 0:44:11 | |
in less than a tenth of a second? | 0:44:11 | 0:44:13 | |
You have now. | 0:44:14 | 0:44:16 | |
And this is Uma Thurman in Pulp Fiction. | 0:44:19 | 0:44:22 | |
Ever seen a woman swap which hand she's smoking with? | 0:44:22 | 0:44:25 | |
Yeah, you probably have, actually. | 0:44:25 | 0:44:29 | |
This is good, though. It keeps swapping hands. | 0:44:29 | 0:44:33 | |
She will burn herself if she's not careful. | 0:44:33 | 0:44:38 | |
You're going down in the fourth. | 0:44:40 | 0:44:42 | |
Snatch now. Watch what is or is not in Brad's mouth. | 0:44:42 | 0:44:45 | |
So give it up for the bone crunching, one-punch machine gun of Mickey! | 0:44:45 | 0:44:51 | |
I wish we could see a bit more of this scene, because God knows | 0:44:51 | 0:44:54 | |
how Brad thinks he's going to smoke while wearing boxing gloves. | 0:44:54 | 0:44:58 | |
Despite having a name that makes him sound like a gay Italian spider, | 0:45:00 | 0:45:04 | |
Quentin Tarantino is a mighty fine film director, | 0:45:04 | 0:45:07 | |
but he is prone to silly mistakes, from using the same shot twice | 0:45:07 | 0:45:11 | |
or fluffing lines to forgetting to tell Michael Madsen not to cut that guy's actual ear off. | 0:45:11 | 0:45:16 | |
Here are some of the man's biggest boobs. | 0:45:16 | 0:45:18 | |
First up, Kill Bill, and this is Daryl Hannah getting dunked. | 0:45:20 | 0:45:24 | |
Daryl once played a mermaid, | 0:45:26 | 0:45:28 | |
and yet here she is making a right old fuss about a bit of water. | 0:45:28 | 0:45:31 | |
No pleasing some people. | 0:45:31 | 0:45:33 | |
But take it back and watch again. | 0:45:34 | 0:45:35 | |
You can see the Plexiglas between her and the bog. | 0:45:37 | 0:45:40 | |
Observe how her sweet breath steams it up. | 0:45:43 | 0:45:45 | |
A silly giveaway. | 0:45:45 | 0:45:47 | |
You know what they put on french fries in Holland instead of ketchup? | 0:45:49 | 0:45:52 | |
This is Pulp Fiction, | 0:45:52 | 0:45:54 | |
and these two cool cats might look comfortable on the road. | 0:45:54 | 0:45:56 | |
That's because they are not even driving. | 0:45:56 | 0:45:59 | |
If you watch the reflection in the shop window, | 0:46:00 | 0:46:03 | |
you can clearly see the car on the back of a trailer. | 0:46:03 | 0:46:06 | |
Royale with cheese? Royale with cheats, you mean! | 0:46:06 | 0:46:10 | |
Reservoir Dogs now, and the cops are chasing Mr Pink. | 0:46:14 | 0:46:18 | |
They run past this grey building here... | 0:46:18 | 0:46:21 | |
A few seconds later, as he flees from one of those pistol whippings American police like to dish out, | 0:46:25 | 0:46:31 | |
Mr Pink run past it. | 0:46:31 | 0:46:33 | |
Sorry, who's chasing who? | 0:46:33 | 0:46:35 | |
And if we keep watching, as Mr Pink shatters his spine... | 0:46:41 | 0:46:44 | |
and does a bit of car jacking, | 0:46:48 | 0:46:50 | |
the police run past the same grey building again. | 0:46:50 | 0:46:54 | |
Is this Scooby Doo? | 0:46:54 | 0:46:56 | |
A character's costume is essential to making an audience believe as the acting. | 0:46:58 | 0:47:03 | |
Superman's cape and tights, | 0:47:03 | 0:47:05 | |
Harry Potter's school uniform, Chewbacca's...belt. | 0:47:05 | 0:47:09 | |
And as for those Sex And The City girls, | 0:47:09 | 0:47:11 | |
each one of them has more costume changes than Kim Cattrall's | 0:47:11 | 0:47:15 | |
character Samantha has had lovers, and that's a disgusting total. | 0:47:15 | 0:47:18 | |
The point is, for any self-respecting director, | 0:47:18 | 0:47:21 | |
wardrobe malfunctions are deeply embarrassing, | 0:47:21 | 0:47:23 | |
which makes it all the sweeter that we have spotted these bad boys. | 0:47:23 | 0:47:27 | |
45-years-old, no living family... | 0:47:29 | 0:47:31 | |
This is a scene from Quantum Of Solace and M, played by Judi Dench, | 0:47:31 | 0:47:34 | |
must have asked Q | 0:47:34 | 0:47:35 | |
to knock up some high-tech shoes. | 0:47:35 | 0:47:37 | |
Because she's wearing flat shoes at the top of the stairs, | 0:47:37 | 0:47:41 | |
but at the bottom, they appear to have morphed into heels. | 0:47:41 | 0:47:45 | |
Have another look. Flat there. | 0:47:45 | 0:47:48 | |
-..through every bill in his wallet and house. -How much did he have? | 0:47:48 | 0:47:52 | |
Less than £100. | 0:47:52 | 0:47:54 | |
Heels there. Astounding. | 0:47:54 | 0:47:57 | |
This is Slumdog Millionaire, | 0:47:59 | 0:48:01 | |
and these guys really will be millionaires | 0:48:01 | 0:48:03 | |
if they can harness the incredible powers of their magic jewellery. | 0:48:03 | 0:48:07 | |
See Latika is wearing a nose ring here | 0:48:08 | 0:48:11 | |
and then, piff paff puff... | 0:48:11 | 0:48:13 | |
..it's gone. | 0:48:15 | 0:48:17 | |
Now it's back again. | 0:48:18 | 0:48:19 | |
Oh, get your act together, love! | 0:48:21 | 0:48:23 | |
And now Zoolander. | 0:48:26 | 0:48:29 | |
When Derek and Matilda arrive at Hansel's, watch how Hansel | 0:48:29 | 0:48:32 | |
plays hokey cokey with his turquoise necklace. | 0:48:32 | 0:48:35 | |
It's dangling outside his T-shirt. | 0:48:35 | 0:48:37 | |
Excuse me, Hansel... | 0:48:37 | 0:48:39 | |
But here, it's in. | 0:48:39 | 0:48:40 | |
..I am just going to lay it out. | 0:48:40 | 0:48:43 | |
-Out. -Derek has been brainwashed | 0:48:43 | 0:48:47 | |
to kill the prime minister of Malaysia. | 0:48:47 | 0:48:49 | |
-In. -And? | 0:48:49 | 0:48:51 | |
And we need a place to hide until we... | 0:48:51 | 0:48:56 | |
An error, or a satire on the fickle nature of fashion? | 0:48:56 | 0:48:58 | |
I suppose we will never know. | 0:48:58 | 0:49:00 | |
Oh, it's out again! | 0:49:00 | 0:49:01 | |
Yeah, you're cool to hide here. | 0:49:01 | 0:49:04 | |
Luckily, Owen Wilson has the strangest hooter in history, | 0:49:04 | 0:49:07 | |
-which acts as a handy distraction. -Fine. | 0:49:07 | 0:49:09 | |
Good job, nose! | 0:49:09 | 0:49:11 | |
..been acting messed-up towards me? | 0:49:11 | 0:49:13 | |
Weird fantasy movie Stardust now, | 0:49:15 | 0:49:17 | |
in which Michelle Pfeiffer has really let herself go. | 0:49:17 | 0:49:20 | |
Look at her teeth. | 0:49:24 | 0:49:25 | |
They've only been darkened at the front. | 0:49:26 | 0:49:28 | |
At the back they're white. In fact, I'd go further. | 0:49:28 | 0:49:31 | |
They're some of the most elegant molars I've seen in the last decade. | 0:49:31 | 0:49:34 | |
This is Goldmember and we're watching out for | 0:49:36 | 0:49:39 | |
the cartwheeling woman as she flips. | 0:49:39 | 0:49:41 | |
The wig comes off. | 0:49:43 | 0:49:44 | |
See? | 0:49:49 | 0:49:50 | |
Bizarrely, though, the hair under the wig looks just the same as the wig. | 0:49:50 | 0:49:54 | |
I mean, what was the wig for? | 0:49:54 | 0:49:57 | |
-Bratz! -Yeah! | 0:49:59 | 0:50:01 | |
This is Bratz, | 0:50:01 | 0:50:02 | |
and as these girls risk serious injury | 0:50:02 | 0:50:04 | |
by launching into dance rehearsals without a warm-up, | 0:50:04 | 0:50:07 | |
they're wearing vest-tops. | 0:50:07 | 0:50:09 | |
When it comes to the wide shot, they're wearing T-shirts. | 0:50:09 | 0:50:12 | |
Vest-tops. | 0:50:12 | 0:50:13 | |
T-shirts. | 0:50:14 | 0:50:15 | |
Vest-tops. T-shirts. | 0:50:15 | 0:50:18 | |
Oh, give it a rest, girls. | 0:50:18 | 0:50:20 | |
With the notable exception of Kindergarten Cop, | 0:50:22 | 0:50:25 | |
Arnold Schwarzenegger's career has been one long movie mistake, | 0:50:25 | 0:50:28 | |
culminating in the amusing boo-boo | 0:50:28 | 0:50:30 | |
in which the people of California put him in charge of the world's eighth-largest economy. | 0:50:30 | 0:50:35 | |
Twice. | 0:50:35 | 0:50:36 | |
To minimise the errors in their films, | 0:50:36 | 0:50:38 | |
the makers of Terminator came up with an ingenious idea - | 0:50:38 | 0:50:41 | |
get Arnold to say and do as little as possible and, as you'll see, that didn't work. | 0:50:41 | 0:50:47 | |
A numerical slip-up here. | 0:50:50 | 0:50:51 | |
The Terminator looks up Sarah Connor's address | 0:50:51 | 0:50:54 | |
in the phone book... | 0:50:54 | 0:50:56 | |
It's a three- or four-digit number. | 0:50:56 | 0:50:58 | |
He pulls up at her house and what does that say? | 0:51:00 | 0:51:04 | |
Number 14239. | 0:51:04 | 0:51:07 | |
My advice, find the location manager and terminate her. | 0:51:07 | 0:51:11 | |
Her contract of employment, that is. I'm not advocating butchery. | 0:51:11 | 0:51:14 | |
-Sarah Connor? -Yes. | 0:51:14 | 0:51:17 | |
I was told not to say. | 0:51:21 | 0:51:22 | |
I'd hate you to think I was obsessed with spelling and numeracy, | 0:51:22 | 0:51:26 | |
even though I am, but here's another silly error. | 0:51:26 | 0:51:28 | |
'You won't tell me what's going on?' | 0:51:28 | 0:51:30 | |
Sarah Connor, in urgent need of a haircut. | 0:51:30 | 0:51:32 | |
She thinks she's talking to her mum | 0:51:32 | 0:51:34 | |
and she gives the number of the Tiki Motel as blah blah blah blah blah 1439. | 0:51:34 | 0:51:39 | |
Have a listen. | 0:51:39 | 0:51:40 | |
'408-555-1439. Room nine.' | 0:51:40 | 0:51:45 | |
IN MOTHER'S VOICE: I love you too, sweetheart. | 0:51:45 | 0:51:47 | |
Armed with this info, the Terminator hangs up | 0:51:47 | 0:51:50 | |
and begins to dial the number with his powerful gloved fingers. | 0:51:50 | 0:51:53 | |
But keep watching that keypad because what does he dial? | 0:51:53 | 0:51:57 | |
Not 1439, but 1639. | 0:52:00 | 0:52:04 | |
He won't get through with that! | 0:52:06 | 0:52:09 | |
'Tiki Motel.' | 0:52:09 | 0:52:10 | |
Oh, he does! | 0:52:10 | 0:52:11 | |
You know when people have an accident, | 0:52:13 | 0:52:15 | |
they stay rooted to the spot and the colour drains out of their cheeks? | 0:52:15 | 0:52:19 | |
Well, this copper certainly does. | 0:52:22 | 0:52:24 | |
Could it have been a dummy(?) | 0:52:25 | 0:52:27 | |
Hmm. | 0:52:35 | 0:52:36 | |
Similar error on a larger scale. | 0:52:41 | 0:52:43 | |
We're supposed to believe that Arnie is driving this truck. Yeah? | 0:52:45 | 0:52:49 | |
Then why can we see a towrope there? | 0:52:49 | 0:52:52 | |
On to Terminator 3, now. | 0:52:56 | 0:52:57 | |
Look at the number of this plane. | 0:52:57 | 0:53:00 | |
N3035C. | 0:53:00 | 0:53:03 | |
Then, in mid-air, it seems to have changed to N3973F. | 0:53:05 | 0:53:11 | |
Fast-forward to landing and, oh look, | 0:53:13 | 0:53:15 | |
we're back to N3035C. | 0:53:15 | 0:53:19 | |
I don't miss a thing, me. | 0:53:19 | 0:53:20 | |
Apart from the friends I used to have before taking up spotting movie mistakes. | 0:53:20 | 0:53:24 | |
The Terminator franchise asks us to swallow | 0:53:27 | 0:53:29 | |
plenty of unlikely happenings. | 0:53:29 | 0:53:32 | |
A robot that can take any shape it wants to? OK. | 0:53:32 | 0:53:35 | |
A war in which both sides travel through time and space? Yeah, whatever. | 0:53:35 | 0:53:38 | |
A Terminatrix making a mobile-phone call | 0:53:38 | 0:53:41 | |
when she doesn't even have a signal? | 0:53:41 | 0:53:43 | |
I don't think so. | 0:53:43 | 0:53:46 | |
There are bars on the display, but they're for the battery. | 0:53:48 | 0:53:53 | |
There's zero signal. That, my friends, is a movie mistake. | 0:53:53 | 0:53:57 | |
This next section brings us more problems with the space-time continuum. | 0:53:59 | 0:54:03 | |
It's packed full of anachronistic things that didn't exist at the time the films are supposed to be set. | 0:54:03 | 0:54:08 | |
Take the film The Quick And The Dead, starring Sharon Stone, for example. | 0:54:08 | 0:54:12 | |
The movie is set in 1840, | 0:54:12 | 0:54:14 | |
even though that's three years before Sharon was even born. | 0:54:14 | 0:54:17 | |
And there's more where that came from. | 0:54:17 | 0:54:20 | |
In The Queen, Blair uses a Nokia 6210. | 0:54:22 | 0:54:24 | |
This is silly, because that model wasn't sold | 0:54:24 | 0:54:27 | |
until at least two years | 0:54:27 | 0:54:28 | |
after the film was set. | 0:54:28 | 0:54:30 | |
Excellent performance by Michael Sheen, of course. | 0:54:30 | 0:54:33 | |
Although I am wary of his nose. It's very nostrilly. | 0:54:33 | 0:54:36 | |
In this clip from Almost Famous, | 0:54:39 | 0:54:40 | |
it's 1969 and William Miller is looking through some classic vinyl. | 0:54:40 | 0:54:45 | |
And while I'm sure none of us like the way that he's stroking them, | 0:54:45 | 0:54:49 | |
that's not my beef. This is. | 0:54:49 | 0:54:51 | |
Joni Mitchell's Blue. | 0:54:51 | 0:54:53 | |
Not released for another two years. | 0:54:53 | 0:54:56 | |
And I hate to say that, because I know he's only a kid, | 0:54:56 | 0:54:59 | |
but, you know, there's no mercy in this dojo. | 0:54:59 | 0:55:02 | |
17 Again and one for you rock fans. | 0:55:06 | 0:55:09 | |
No, not the camp dancing on the basketball court | 0:55:09 | 0:55:12 | |
but the fact that even though this scene is set in '89, | 0:55:12 | 0:55:15 | |
this fella has a Paramore T-shirt on, a band that only formed in 2004. | 0:55:15 | 0:55:20 | |
He's what our American chums would call a total douchebag. | 0:55:20 | 0:55:24 | |
Sure, we all love to see American men dance. I'm not disputing that. | 0:55:29 | 0:55:32 | |
But what I do have an issue with is this little glimpse | 0:55:32 | 0:55:36 | |
of the NBC Tower in Dreamgirls. | 0:55:36 | 0:55:39 | |
The scene is set in the '70s | 0:55:39 | 0:55:41 | |
but the tower was not built until the late '80s. | 0:55:41 | 0:55:45 | |
No amount of world-class dancing will ever change that. | 0:55:45 | 0:55:48 | |
And finally, The Last King Of Scotland, a film about Idi Amin. | 0:55:54 | 0:56:00 | |
Many of us think of Africa as being behind the times, but we're wrong. | 0:56:00 | 0:56:03 | |
This scene is set in Uganda in the '70s, | 0:56:06 | 0:56:09 | |
yet they already had flat-screen TVs. | 0:56:09 | 0:56:11 | |
Amazing. Not least because at this point in time, | 0:56:11 | 0:56:14 | |
us lot hadn't even come up with Betamax. | 0:56:14 | 0:56:17 | |
Subtitles by Red Bee Media Ltd | 0:56:22 | 0:56:25 | |
E-mail [email protected] | 0:56:25 | 0:56:28 |