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The name's Webb, Robert Webb and I've got a license to kill... | 0:00:44 | 0:00:48 | |
the next two hours of your life, | 0:00:48 | 0:00:51 | |
with all the mistakes from the latest movie releases. | 0:00:51 | 0:00:53 | |
It's the return of the show that leaves the movie industry | 0:00:53 | 0:00:56 | |
shaken and stirred by pointing out | 0:00:56 | 0:00:58 | |
when it's made a right Thunder... up. | 0:00:58 | 0:01:01 | |
Our team of movie nerds have been on Her Majesty's secret service | 0:01:01 | 0:01:04 | |
to spot this year's brand new batch of movie clunkers. | 0:01:04 | 0:01:08 | |
They're for your eyes only and, believe me, Dr No...one will... | 0:01:08 | 0:01:12 | |
Sorry, I'm not going to do this for the whole show. | 0:01:12 | 0:01:14 | |
When I said I want a James Bond style opening, I thought you'd | 0:01:14 | 0:01:17 | |
give me fast cars, exotic locations and beautiful women, | 0:01:17 | 0:01:20 | |
not a dodgy tux and bad puns. | 0:01:20 | 0:01:22 | |
What, The Man With The Golden Pun? Yeah, very strong. | 0:01:22 | 0:01:25 | |
Yeah, great. That's it, forget it. That's the last straw. | 0:01:25 | 0:01:29 | |
Get Keith Lemon! | 0:01:29 | 0:01:30 | |
That's better. There'll be no more of that nonsense. | 0:01:32 | 0:01:35 | |
Instead, we're going to review clip after clip | 0:01:35 | 0:01:38 | |
of the greatest movie mistakes from this year's films | 0:01:38 | 0:01:41 | |
and my word is my bond. | 0:01:41 | 0:01:43 | |
Hang on! | 0:01:43 | 0:01:45 | |
Don't sequels just do your head in? | 0:02:02 | 0:02:04 | |
It seems that, nowadays, people can't just let a good thing happen | 0:02:04 | 0:02:07 | |
without exploiting it over and over again. | 0:02:07 | 0:02:10 | |
Repeating the same tired formula until there's nothing original left. | 0:02:10 | 0:02:13 | |
At least that's what we think here at Movie Mistakes...Three. | 0:02:13 | 0:02:17 | |
Statistically, sequels gross more at the box office | 0:02:17 | 0:02:20 | |
than the first film in a series, so do prequels. | 0:02:20 | 0:02:23 | |
So I've come up with a plan, make the second film first, | 0:02:23 | 0:02:26 | |
then do the first film second, but because you've made the second film | 0:02:26 | 0:02:30 | |
first, the second film, which is in fact the first film, | 0:02:30 | 0:02:33 | |
will technically be a prequel. Ker-ching! | 0:02:33 | 0:02:36 | |
The best thing about sequels is that they get to have subtitles. | 0:02:36 | 0:02:40 | |
Terminator 2, Judgement Day, Babe 2 - Pig In The City, | 0:02:40 | 0:02:43 | |
Garfield 2 - who allowed this to get made. | 0:02:43 | 0:02:46 | |
The foreboding and climactic Harry Potter And The Deathly Hallows. | 0:02:48 | 0:02:52 | |
Here, the charmingly named Mundungus knocks over a stack of newspapers. | 0:02:52 | 0:02:57 | |
Listen, I panicked... | 0:02:57 | 0:02:59 | |
Daily Prophets everywhere. | 0:02:59 | 0:03:01 | |
But, perhaps a special cleaning spell is used as, later on, | 0:03:02 | 0:03:06 | |
we see the papers are neatly stacked again. | 0:03:06 | 0:03:08 | |
Abracadabra? Abraca-bad-ra. | 0:03:08 | 0:03:12 | |
Harry Potter critics say it became a little repetitive towards the end. | 0:03:16 | 0:03:20 | |
-I think that's a bit unfair. -They're after you, mate. | 0:03:20 | 0:03:22 | |
Oh, hang on, that waitress covers the same piece of ground twice. | 0:03:22 | 0:03:26 | |
What about all the people the wedding? | 0:03:27 | 0:03:29 | |
There she goes... | 0:03:29 | 0:03:30 | |
and there she goes again. | 0:03:30 | 0:03:32 | |
Maybe they had a point after all. | 0:03:32 | 0:03:34 | |
Helena Bonham Carter straddling Emma Watson is a sight to get any | 0:03:36 | 0:03:41 | |
Harry Potter fan-boy hot and bothered, but not like that. | 0:03:41 | 0:03:44 | |
I'm talking about this massive movie clunker. | 0:03:44 | 0:03:47 | |
SHE SCREAMS | 0:03:47 | 0:03:50 | |
She goes to carve into her right arm, | 0:03:53 | 0:03:55 | |
then, suddenly, she's attacking her left. | 0:03:55 | 0:03:57 | |
It's awful. There's not even any mud for them to fight in. | 0:03:59 | 0:04:02 | |
Ah, pirates - making alcoholism fun! | 0:04:05 | 0:04:08 | |
It's the boisterous Pirates Of The Caribbean 4. | 0:04:08 | 0:04:11 | |
And, as Geoffrey Rush tilts his hollow leg high to get a drink, | 0:04:12 | 0:04:16 | |
Jack Sparrow wants a taste. | 0:04:16 | 0:04:18 | |
I want one of those. | 0:04:18 | 0:04:20 | |
Sadly, his hands are tied and could never tilt the leg high enough. | 0:04:20 | 0:04:24 | |
Here's to revenge - sweet and clear. | 0:04:24 | 0:04:27 | |
Revenge. | 0:04:28 | 0:04:30 | |
How'd he do that? | 0:04:30 | 0:04:31 | |
Come, Hector. | 0:04:31 | 0:04:32 | |
It's the flaccid Little Fockers | 0:04:34 | 0:04:37 | |
and here's Jessica Alba dropping off Ben Stiller in a lovely | 0:04:37 | 0:04:40 | |
car with black seats. | 0:04:40 | 0:04:42 | |
-Are you sure you're going to be OK? -Yeah. | 0:04:43 | 0:04:45 | |
Well, it's not him you should worry about, it's your car | 0:04:45 | 0:04:48 | |
because over night...the seats have turned white. | 0:04:48 | 0:04:51 | |
You OK? | 0:04:51 | 0:04:52 | |
Following the example of Dustin Hoffman's hair. | 0:04:52 | 0:04:56 | |
Oh, it's the atmospheric Paranormal Activity 2. | 0:04:59 | 0:05:02 | |
BANG | 0:05:02 | 0:05:03 | |
And there's some spooky goings on in this household. | 0:05:03 | 0:05:06 | |
Oh, keep an eye on the pots and pans hanging from the rack. | 0:05:07 | 0:05:10 | |
That's enough. | 0:05:10 | 0:05:11 | |
Oooh, they keep changing colour and shape. | 0:05:13 | 0:05:16 | |
A poltergeist or cock-up? | 0:05:17 | 0:05:20 | |
You decide. | 0:05:20 | 0:05:21 | |
You know, it takes so much time and money | 0:05:23 | 0:05:26 | |
to CGI those robots in Transformers, | 0:05:26 | 0:05:28 | |
I'd just not bother putting them in every shot. | 0:05:28 | 0:05:32 | |
I mean, who's going to notice? | 0:05:32 | 0:05:34 | |
Unfortunately, we are! | 0:05:34 | 0:05:36 | |
Keep an eye on this character, Brains, who transforms into | 0:05:36 | 0:05:39 | |
thin air! | 0:05:39 | 0:05:41 | |
Shame this film can't transform into a good one. | 0:05:41 | 0:05:44 | |
That's what you love about me. | 0:05:44 | 0:05:46 | |
You've got some BLEEP. | 0:05:48 | 0:05:49 | |
It's annoying when there's loads of action going on. | 0:05:49 | 0:05:53 | |
There's never time to shave, is there, Shia Labeouf? | 0:05:53 | 0:05:55 | |
Especially when you're getting attacked by a flying robot. | 0:05:58 | 0:06:02 | |
No! | 0:06:05 | 0:06:06 | |
But, wait a second, he hasn't, has he? | 0:06:06 | 0:06:11 | |
From Shia Labeouf to sheered Labeouf. | 0:06:11 | 0:06:15 | |
You think you're a hero... | 0:06:17 | 0:06:19 | |
It's near the end of transformers and time is tight. | 0:06:19 | 0:06:22 | |
Who's the messenger? | 0:06:22 | 0:06:23 | |
But look at this clock, it's got a mind of it's own. | 0:06:23 | 0:06:26 | |
Starting at 2:20. | 0:06:26 | 0:06:28 | |
It jumps back to 12:15... | 0:06:32 | 0:06:35 | |
..and then back further to 11 o'clock. | 0:06:37 | 0:06:40 | |
It's like Back To The Future, but with robots | 0:06:40 | 0:06:42 | |
and without Michael J Fox. | 0:06:42 | 0:06:45 | |
Actually, forget it, it's nothing like Back To The Future. | 0:06:45 | 0:06:48 | |
Last clip from Transformers and lucky old sheered Labeouf is getting | 0:06:50 | 0:06:54 | |
a snog from his latest supermodel girlfriend. | 0:06:54 | 0:06:57 | |
But take a look at her mucky paws. | 0:06:57 | 0:07:00 | |
I'm going to hold you to that. | 0:07:00 | 0:07:02 | |
They keep changing from clean and over his shoulders, | 0:07:02 | 0:07:05 | |
to dirty and on his face. | 0:07:05 | 0:07:07 | |
The most popular genre of the moment seems to be the superheroes. | 0:07:12 | 0:07:16 | |
Spiderman, Superman, Natalie Port-man, X-men, that's another one. | 0:07:16 | 0:07:20 | |
I've always found their name confusing. | 0:07:20 | 0:07:23 | |
X-men, they're ex-men. So they're women. | 0:07:23 | 0:07:26 | |
If that's the case, I suppose that explains | 0:07:26 | 0:07:29 | |
why I fancy Wolverine so very much. | 0:07:29 | 0:07:31 | |
Everyone is quick to talk about superheroes, but no-one | 0:07:31 | 0:07:34 | |
in interested in the real life heroes. | 0:07:34 | 0:07:36 | |
For me, my hero in life has always been my old English teacher. | 0:07:36 | 0:07:39 | |
He was caring and passionate, a real inspiration to all he taught | 0:07:39 | 0:07:43 | |
and by night, he donned a mask and cape | 0:07:43 | 0:07:45 | |
and went out and fought criminals. | 0:07:45 | 0:07:47 | |
I'll never forget you, Mr Batman. | 0:07:47 | 0:07:50 | |
Now it's time for breakneck action hit X-Men First Class. | 0:07:52 | 0:07:56 | |
But that isn't a history class, | 0:07:56 | 0:07:59 | |
as while they may be flashing back to 1944... | 0:07:59 | 0:08:03 | |
that photo of Einstein was taken in 1947. | 0:08:03 | 0:08:07 | |
Class dismissed. | 0:08:08 | 0:08:10 | |
Here's James McAvoy as superhero, Professor Xavier. | 0:08:14 | 0:08:17 | |
But every superhero has his weakness and for Xavier, it's windows. | 0:08:17 | 0:08:21 | |
See that? | 0:08:22 | 0:08:24 | |
I read the teleporter's mind. | 0:08:25 | 0:08:26 | |
Ouch! He bangs his head against the glass. | 0:08:26 | 0:08:29 | |
Curse you, window, I'll get you next time! | 0:08:29 | 0:08:31 | |
I read the teleporter's mind. | 0:08:31 | 0:08:33 | |
Now, James is rightly thinking twice | 0:08:35 | 0:08:37 | |
about shooting his mate in the head. | 0:08:37 | 0:08:40 | |
But look at the distance the gun is from his head, | 0:08:40 | 0:08:43 | |
it changes with every shot. | 0:08:43 | 0:08:45 | |
That's every shot of the camera, not of the gun, thankfully. | 0:08:45 | 0:08:49 | |
No, I can't. | 0:08:49 | 0:08:50 | |
Now have the animators made an error here? Look at Emma Frost - | 0:08:52 | 0:08:55 | |
she's the one that's a woman. | 0:08:55 | 0:08:58 | |
When she changes from diamonds back to human | 0:08:58 | 0:09:01 | |
her hair style changes. | 0:09:01 | 0:09:03 | |
Here it's loose. | 0:09:05 | 0:09:06 | |
Now tied back. | 0:09:06 | 0:09:07 | |
We don't harm our own kind. | 0:09:07 | 0:09:09 | |
With her hair in that state, she must have been made from uncut diamonds. | 0:09:09 | 0:09:12 | |
On to the let down that was Green Lantern | 0:09:15 | 0:09:18 | |
and this guy is ecstatic because all day, he's been trying to keep | 0:09:18 | 0:09:21 | |
his slippery headphones on his head and now he's finally made them... | 0:09:21 | 0:09:25 | |
Oh. Oh well. Back to the drawing board. | 0:09:25 | 0:09:28 | |
Take a look at Ryan Reynolds brown eyes. | 0:09:32 | 0:09:34 | |
You know, you can't be a pilot if you're colour blind. | 0:09:34 | 0:09:37 | |
Maybe they should have the same rule for casting directors because, | 0:09:39 | 0:09:42 | |
according to this film, when he was younger, he had blue eyes. | 0:09:42 | 0:09:47 | |
It's Ken Branagh's smart take on Thor. | 0:09:50 | 0:09:52 | |
But where's the cock-up? | 0:09:52 | 0:09:54 | |
As Dylan says, the answer, my friend, is blowing in the wind. | 0:09:55 | 0:09:59 | |
Look at that stiff breeze blowing their hair across their faces... | 0:10:01 | 0:10:05 | |
that suddenly disappears... and it returns. | 0:10:05 | 0:10:09 | |
Misquoting Dylan again, let's hope, at that height, they're not sitting on the eves of destruction. | 0:10:09 | 0:10:15 | |
I try, I fail. | 0:10:15 | 0:10:17 | |
I'm going to get everything back. | 0:10:17 | 0:10:19 | |
In this scene, it's tipping it down with rain | 0:10:22 | 0:10:25 | |
and everyone's getting soaking wet. | 0:10:25 | 0:10:28 | |
Apart from the guy from The Hurt Locker, | 0:10:29 | 0:10:31 | |
who keeps a dry face at all times. | 0:10:31 | 0:10:34 | |
With that condition, he must get through a hell of a lot of Nivea. | 0:10:35 | 0:10:39 | |
Thor, again, and an exciting moment where a coffee spills over. | 0:10:41 | 0:10:46 | |
But there's no use crying over it because, | 0:10:50 | 0:10:52 | |
in just a matter of seconds, it goes from being knocked over | 0:10:52 | 0:10:56 | |
to upright again. | 0:10:56 | 0:10:58 | |
Better latte than never. | 0:10:59 | 0:11:01 | |
In my opinion, a good movie always leaves you asking questions. | 0:11:03 | 0:11:07 | |
Who was Keyser Soze? | 0:11:07 | 0:11:09 | |
How did Nice Guy Eddie get shot? And, dude, where is my car? | 0:11:09 | 0:11:12 | |
but this selection of clunkers is so terrible, it will leave you | 0:11:12 | 0:11:16 | |
asking only one question. What were they thinking? | 0:11:16 | 0:11:20 | |
Very geeky comedy with the film Paul, now, | 0:11:22 | 0:11:25 | |
and the invisible alien looks at Nick Frost's passport. | 0:11:25 | 0:11:28 | |
But it should say British citizen and not British subject. | 0:11:31 | 0:11:34 | |
Could be worse, it could be French subject. | 0:11:34 | 0:11:37 | |
That was always my least favourite subject. | 0:11:37 | 0:11:39 | |
He's from another world. | 0:11:42 | 0:11:44 | |
Take a look at the green oven mitt on the wall. | 0:11:44 | 0:11:46 | |
It's about to disappear. | 0:11:46 | 0:11:48 | |
If it makes you feel any better, my existence... | 0:11:48 | 0:11:50 | |
There it goes. | 0:11:50 | 0:11:52 | |
That's the thing about sci-fi films, I mean, the rule book is thrown | 0:11:52 | 0:11:55 | |
out of the window. | 0:11:55 | 0:11:56 | |
# Amazing grace... # | 0:11:56 | 0:11:57 | |
In fact, I bet they did it on purpose. | 0:11:57 | 0:12:00 | |
I bet it represents something like, you know, us, | 0:12:00 | 0:12:03 | |
like, are we really here or are we just... | 0:12:03 | 0:12:06 | |
Oh, yeah. | 0:12:06 | 0:12:08 | |
Oh, never mind, it's back. | 0:12:08 | 0:12:09 | |
Turns out it just represents a mistake they made. | 0:12:09 | 0:12:12 | |
And now fireworks. Remember the code... | 0:12:14 | 0:12:17 | |
That'll put us behind the tree... | 0:12:17 | 0:12:19 | |
..light them at an arms length... | 0:12:19 | 0:12:20 | |
Hey! Watch the fuse! | 0:12:20 | 0:12:22 | |
..stand well back... | 0:12:22 | 0:12:23 | |
That's not funny. | 0:12:23 | 0:12:24 | |
..and take your head torch off twice. | 0:12:24 | 0:12:26 | |
Arrh. Boom! | 0:12:26 | 0:12:29 | |
But watch Pegg's head torch. He just lets it vanish. | 0:12:35 | 0:12:38 | |
He's no responsible adult. | 0:12:40 | 0:12:42 | |
Pretentious arty action in Hanna. | 0:12:46 | 0:12:49 | |
Here, Cate Blanchett runs up a flight of stairs in comfy shoes, | 0:12:49 | 0:12:53 | |
dropping her monkey head along the way. | 0:12:53 | 0:12:55 | |
No time to worry about simian head gear, there's a child to chase. | 0:12:56 | 0:12:59 | |
But, apparently, plenty of time to change shoes. | 0:13:05 | 0:13:08 | |
Let's see that again. | 0:13:08 | 0:13:10 | |
Before you can say, "Here come the girls," she's in boots! | 0:13:12 | 0:13:16 | |
Here's Hanna herself and I know what you're thinking, | 0:13:20 | 0:13:24 | |
Hanna was brought up as a trained assassin in isolation | 0:13:24 | 0:13:27 | |
near the arctic circle, so how come she's got pierced ears? | 0:13:27 | 0:13:30 | |
This movie has more holes than Hanna's lobes. | 0:13:31 | 0:13:34 | |
Hanna's having a face-to-face chat with her friend Sophie, | 0:13:37 | 0:13:41 | |
lying on her left hand side. | 0:13:41 | 0:13:43 | |
And here's Sophie who, for some reason, | 0:13:43 | 0:13:45 | |
appears to be also lying on her left side. | 0:13:45 | 0:13:47 | |
So, how are they face-to-face? | 0:13:48 | 0:13:51 | |
I like you. | 0:13:51 | 0:13:52 | |
Look me in the eye and answer me! | 0:13:52 | 0:13:54 | |
I'd like to have a friend. | 0:13:55 | 0:13:57 | |
In the soppy Just Wright, | 0:13:59 | 0:14:01 | |
Scott walks Leslie over to a covered object shaped very much like a car. | 0:14:01 | 0:14:06 | |
She asks what it is and he reveals, to her great surprise... | 0:14:06 | 0:14:11 | |
that it's a car. | 0:14:11 | 0:14:12 | |
No, you didn't! | 0:14:12 | 0:14:15 | |
But keep your eye on the antenna. | 0:14:15 | 0:14:17 | |
It's visible even though the car's covered | 0:14:17 | 0:14:19 | |
and doesn't move with the fabric. | 0:14:19 | 0:14:22 | |
Just WRIGHT?! Just WRONG more, like! | 0:14:25 | 0:14:28 | |
ROBERT WEBB CHUCKLES | 0:14:28 | 0:14:30 | |
Here's the moribund Something Borrowed. | 0:14:32 | 0:14:34 | |
Keep an eye on the girl on the far left fast asleep. | 0:14:34 | 0:14:38 | |
Now she's wide awake and catching up on the latest gossip in Grazia. | 0:14:40 | 0:14:44 | |
Can't have been a very interesting article because, look, | 0:14:44 | 0:14:46 | |
sleeping on the job again. A bit like the continuity editor. | 0:14:46 | 0:14:50 | |
On to the tongue-in-cheek Red now and here's lovely Helen Mirren | 0:14:54 | 0:14:57 | |
looking glamorous, | 0:14:57 | 0:14:58 | |
but then she could make a cheap plastic watch look glamorous. | 0:14:58 | 0:15:02 | |
Which must be exactly what she's done | 0:15:02 | 0:15:05 | |
as while the necklace sets off the metal detector, | 0:15:05 | 0:15:09 | |
the watch doesn't. | 0:15:09 | 0:15:11 | |
Still with Red and here, | 0:15:15 | 0:15:16 | |
Bruce Willis gets a little help with his handcuffs. | 0:15:16 | 0:15:19 | |
He's handed a key, but wait a second, | 0:15:19 | 0:15:23 | |
the handcuffs aren't even locked. | 0:15:23 | 0:15:25 | |
How much help do you need, Bruce? | 0:15:27 | 0:15:29 | |
Do you want him to tie your shoelaces while he's at it? | 0:15:29 | 0:15:32 | |
You can't beat watching a film in 3D. | 0:15:34 | 0:15:35 | |
Not only do things jump out the screen at you, | 0:15:35 | 0:15:39 | |
but when you get to any rude bits, you can do this. Ho-ho! | 0:15:39 | 0:15:43 | |
3D films are making huge waves at the moment, | 0:15:43 | 0:15:46 | |
but what will be the next step? 4D? 5D? | 0:15:46 | 0:15:48 | |
Here at Movie Mistakes 3, we can reveal the latest | 0:15:48 | 0:15:51 | |
technological advancement that's about to take Hollywood by storm - | 0:15:51 | 0:15:55 | |
8D. | 0:15:55 | 0:15:57 | |
I'm about to watch the latest Saw movie. OK! | 0:15:57 | 0:16:01 | |
HE SCREAMS | 0:16:02 | 0:16:03 | |
Turn it off! Turn it off! | 0:16:03 | 0:16:06 | |
I think I'm going to stick to 2D. | 0:16:09 | 0:16:12 | |
Dreary TRON: Legacy now and look at the dangerous driving. | 0:16:15 | 0:16:20 | |
Surely he can't get away with this. | 0:16:20 | 0:16:22 | |
He won't because the police have clocked him with a speed gun. | 0:16:23 | 0:16:26 | |
But the police seem to have failed to spot the fact that everyone | 0:16:26 | 0:16:30 | |
is driving the wrong way down that road. | 0:16:30 | 0:16:33 | |
It's impossible to catch a cab in New York, | 0:16:36 | 0:16:38 | |
so why not let a cab catch you? | 0:16:38 | 0:16:41 | |
Watch out, here come the police. | 0:16:42 | 0:16:45 | |
Here they are. | 0:16:47 | 0:16:48 | |
You pay! | 0:16:48 | 0:16:49 | |
And here they are again. | 0:16:51 | 0:16:53 | |
Oh, he looks hard(!) | 0:16:58 | 0:17:01 | |
As this poor lady's about to find out. | 0:17:01 | 0:17:03 | |
You don't want to fight him. | 0:17:03 | 0:17:05 | |
Look at the neon strip on her right leg. | 0:17:05 | 0:17:08 | |
He's so tough, he can kick someone's trousers back to front. | 0:17:09 | 0:17:13 | |
See, the strip is on the opposite side... | 0:17:13 | 0:17:16 | |
and her side parting too. | 0:17:16 | 0:17:18 | |
What a guy. | 0:17:18 | 0:17:20 | |
A CGI Jeff Bridges speaks to his army of baddie motorcycle couriers. | 0:17:23 | 0:17:27 | |
There's clearly no-one standing directly in front of him. Look. | 0:17:27 | 0:17:33 | |
But the reflection in his visor suggests he's dead opposite him. | 0:17:35 | 0:17:38 | |
He must have pushed his way to the front. | 0:17:38 | 0:17:42 | |
What a crawler! | 0:17:42 | 0:17:44 | |
Jackass 3D now and those hardcore lunatics | 0:17:46 | 0:17:50 | |
take on one of my biggest fears - self-assembled furniture. | 0:17:50 | 0:17:53 | |
Watch the corner of the room where the plant is, | 0:17:53 | 0:17:56 | |
because in no time at all, they're going to put up... | 0:17:56 | 0:18:00 | |
a bookcase! | 0:18:00 | 0:18:01 | |
Jackass 3D is amazing. | 0:18:01 | 0:18:03 | |
It really feels like they're bursting through your telly. | 0:18:03 | 0:18:07 | |
See! | 0:18:07 | 0:18:09 | |
Piranha 3D full of action, gore and mistakes. | 0:18:14 | 0:18:17 | |
Here sheriff Elizabeth Shue falls in a big lake. | 0:18:17 | 0:18:21 | |
Deputy fellow manages to get her out | 0:18:22 | 0:18:24 | |
but moments later, she's bone dry. What a mistake. | 0:18:24 | 0:18:28 | |
They should shoot the sheriff and the deputy for that one. | 0:18:28 | 0:18:31 | |
Now, what's this idiot up to? | 0:18:35 | 0:18:36 | |
You can't put a walkie-talkie in water. | 0:18:36 | 0:18:40 | |
Oi, mate! They're not called swimmie-talkies, are they? | 0:18:40 | 0:18:43 | |
It'll short-circuit. | 0:18:43 | 0:18:45 | |
But in Piranha 3D anything can happen, even if it shouldn't. | 0:18:45 | 0:18:51 | |
OK, I'm in. | 0:18:51 | 0:18:52 | |
And the walkie-talkie works perfectly. | 0:18:52 | 0:18:54 | |
'Do you copy?' | 0:18:54 | 0:18:55 | |
The dim-witted Resident Evil: Afterlife | 0:18:59 | 0:19:01 | |
and Milla Jovovich is taking down some baddies. | 0:19:01 | 0:19:04 | |
As most ladies will tell you, | 0:19:04 | 0:19:06 | |
although you may turn up at work in killer heels, | 0:19:06 | 0:19:09 | |
keep a comfy pair of shoes in your bag, just in case you have to... | 0:19:09 | 0:19:14 | |
you know, run up a wall. | 0:19:14 | 0:19:15 | |
But like any good hero, she wants to be buried in her boots | 0:19:21 | 0:19:24 | |
and her heels are back on. | 0:19:24 | 0:19:27 | |
Now, this chap has a gun trained on Milla. | 0:19:31 | 0:19:35 | |
Stop right there. | 0:19:35 | 0:19:37 | |
And this other bloke looks nasty. | 0:19:37 | 0:19:38 | |
There's no way out of this one. | 0:19:38 | 0:19:40 | |
If only the gunman was as close enough to kick as those knives. | 0:19:40 | 0:19:45 | |
Oh, now he is! | 0:19:45 | 0:19:46 | |
Well, it was either that or grow telescopic legs. | 0:19:46 | 0:19:50 | |
They say you should never meet your heroes, | 0:19:55 | 0:19:58 | |
which I guess is why no-one ever comes up to me in the street | 0:19:58 | 0:20:00 | |
and tells me how much they love my work. | 0:20:00 | 0:20:02 | |
Thanks, guys. That means a lot(!) | 0:20:02 | 0:20:04 | |
Everytime someone crosses the street to avoid meeting me, | 0:20:04 | 0:20:07 | |
I think to myself, "There goes a true fan." | 0:20:07 | 0:20:10 | |
The hard-boiled and vicious Mechanic goes a bit Weekend At Bernie's | 0:20:16 | 0:20:20 | |
as Jason Statham covers up his killing by making the corpse | 0:20:20 | 0:20:24 | |
swim a few more lengths. | 0:20:24 | 0:20:25 | |
But look at his grip on the dead man's wrists. | 0:20:29 | 0:20:32 | |
It should clearly be visible from above, | 0:20:32 | 0:20:35 | |
but it's not. | 0:20:35 | 0:20:37 | |
What would Bernie say? | 0:20:37 | 0:20:39 | |
Well, nothing. He's dead. | 0:20:39 | 0:20:42 | |
Angelina Jolie in the disjointed film Salt, | 0:20:44 | 0:20:47 | |
here climbs down a lift shaft. | 0:20:47 | 0:20:50 | |
Just a wait few minutes for the lift, you impatient madam. | 0:20:51 | 0:20:54 | |
Thankfully, she emerges from what must be | 0:20:56 | 0:20:58 | |
a filthy and greasy lift shaft | 0:20:58 | 0:21:00 | |
with a pristine white shirt and clean, spotless skin. | 0:21:00 | 0:21:03 | |
How does she do it? | 0:21:03 | 0:21:05 | |
It's the crackpot action movie Red | 0:21:09 | 0:21:11 | |
and Bruce Willis has kidnapped a lady and taped up her mouth. | 0:21:11 | 0:21:15 | |
But the more she gesticulates, the more we can see that | 0:21:15 | 0:21:19 | |
she has enough movement in her arms to take the tape off. | 0:21:19 | 0:21:22 | |
Maybe if she stopped complaining and thought a second she'd work it out. | 0:21:22 | 0:21:26 | |
I'm a little hungry too. | 0:21:26 | 0:21:28 | |
Moody revenge film Faster now and The Rock hears an eagle call. | 0:21:30 | 0:21:35 | |
# Who's that riding? # | 0:21:36 | 0:21:38 | |
Trouble is, the bird he's seeing is actually a seagull. | 0:21:38 | 0:21:41 | |
Maybe the seagull thinks it'll sound more impressive as an eagle. | 0:21:43 | 0:21:48 | |
A bit like calling yourself "The Rock," | 0:21:48 | 0:21:51 | |
when your real name is Dwayne. | 0:21:51 | 0:21:53 | |
It's the best actor of his generation, 50 Cent, | 0:21:57 | 0:22:00 | |
in the very flat Blood Out | 0:22:00 | 0:22:01 | |
doing some incredible sunglasses acting. | 0:22:01 | 0:22:04 | |
Look good on you, man. | 0:22:04 | 0:22:06 | |
They do look good on him, don't they? | 0:22:06 | 0:22:09 | |
He should never take them off. | 0:22:09 | 0:22:10 | |
Oh, wait a minute, they've disappeared. | 0:22:13 | 0:22:15 | |
That's awful continuity if you want my 50 cents on the matter. | 0:22:15 | 0:22:19 | |
And now, major movie storyline faults | 0:22:21 | 0:22:24 | |
are reviewed and exposed in Great Pothole Mistakes. | 0:22:24 | 0:22:28 | |
In the spooky and surprising Sixth Sense, | 0:22:28 | 0:22:31 | |
Bruce Willis plays Dr Malcolm Crowe, | 0:22:31 | 0:22:32 | |
a child psychologist who gets shot by a former patient | 0:22:32 | 0:22:35 | |
and, ten months later, befriends a troubled young boy | 0:22:35 | 0:22:38 | |
who can see dead people. | 0:22:38 | 0:22:41 | |
One of whom, it turns out, is Dr Crowe, raising the question | 0:22:41 | 0:22:44 | |
how good a doctor is he that it took him ten months | 0:22:44 | 0:22:46 | |
to diagnose his own death? | 0:22:46 | 0:22:48 | |
Surely there were clues. | 0:22:48 | 0:22:50 | |
Like his wife crying into her dinner for one. | 0:22:52 | 0:22:54 | |
Or when she went to a funeral he wasn't invited to. | 0:22:54 | 0:22:57 | |
Or when she took up starfishing in bed. | 0:22:57 | 0:23:00 | |
And then there must have been his sudden lack of bar presence, | 0:23:00 | 0:23:04 | |
and having is phone cut off and not needing the toilet. | 0:23:04 | 0:23:08 | |
And being able to go to the flicks without paying. | 0:23:10 | 0:23:13 | |
And even if his unrequited sexual advances towards his wife | 0:23:15 | 0:23:19 | |
were nothing new, surely when she made the bed with him still in it | 0:23:19 | 0:23:23 | |
he must have wondered what the blazes was afoot. | 0:23:23 | 0:23:26 | |
"Sorry, I'm still here." | 0:23:26 | 0:23:28 | |
You stole the distinctive autumnal tones of my seminal movie. | 0:23:28 | 0:23:33 | |
Be gone! | 0:23:33 | 0:23:34 | |
Awards - what are they good for? | 0:23:36 | 0:23:40 | |
Plumping up the already inflated egos of pampered performers. | 0:23:40 | 0:23:43 | |
Rewarding someone for doing a job they've already been paid | 0:23:43 | 0:23:46 | |
far too much money to do in the first place. | 0:23:46 | 0:23:48 | |
As if all performers have a pathetic obsession with recognition. | 0:23:48 | 0:23:51 | |
Awards are a complete sham, a massive waste of time | 0:23:51 | 0:23:54 | |
and, as I stated very loudly at this year's Annual Clip Show Awards, | 0:23:54 | 0:23:57 | |
I'm not interested in stupid awards and, yes, we have been passed over | 0:23:57 | 0:24:01 | |
yet again and, yes, I may have been removed by security | 0:24:01 | 0:24:04 | |
for causing a scene, but there is no way that | 0:24:04 | 0:24:07 | |
Animal Foul Ups deserved to win again. | 0:24:07 | 0:24:10 | |
Speaking of awards, here are some Oscar-nominated clips. | 0:24:10 | 0:24:13 | |
Inception - where strange things happen almost without explanation. | 0:24:17 | 0:24:21 | |
That's not the way I deal with things. | 0:24:21 | 0:24:24 | |
Maybe that's how you justify the rain on the window behind Saito. | 0:24:24 | 0:24:27 | |
But there's no rain on DiCaprio. | 0:24:27 | 0:24:30 | |
And the continuity editor is thrown off the building | 0:24:31 | 0:24:35 | |
-for one too many errors. -What will you do with him? -Nothing. | 0:24:35 | 0:24:38 | |
You'd have thought working on Inception would be a dream job. | 0:24:38 | 0:24:41 | |
Now a maths lesson from revealing biopic The Social Network. | 0:24:45 | 0:24:49 | |
Facebook's run by some of the greatest business minds in the world. | 0:24:49 | 0:24:52 | |
So these numbers will be meticulously crunched. | 0:24:52 | 0:24:55 | |
Let's listen to how their business is divided up. | 0:24:55 | 0:24:58 | |
That represents a 34.4% ownership share. | 0:24:58 | 0:25:02 | |
So Eduardo owns 34.4%. | 0:25:02 | 0:25:05 | |
-You should know that Mark has already taken his percentage from 60 down to 51. -Oh. | 0:25:05 | 0:25:11 | |
Zuckerberg owns 51%. | 0:25:11 | 0:25:12 | |
Who else is in? | 0:25:12 | 0:25:14 | |
Dustin Moskovitz owns 6.81%, | 0:25:14 | 0:25:17 | |
Sean Parker 6.47% and Peter Thiel 7%. | 0:25:17 | 0:25:23 | |
Total 105%! | 0:25:23 | 0:25:25 | |
Would you like to use my pen? | 0:25:25 | 0:25:28 | |
Would you like to use my calculator? | 0:25:28 | 0:25:31 | |
Ooh, the brutal and uncompromising Black Swan now | 0:25:34 | 0:25:38 | |
and check out Natalie Portman's scarf. | 0:25:38 | 0:25:40 | |
Did she kill a white swan to make it? | 0:25:40 | 0:25:43 | |
Anyway, she's about to step through a magical door. | 0:25:43 | 0:25:46 | |
Why is it a magical door? | 0:25:46 | 0:25:47 | |
Because as she steps through it, her scarf's no longer round her neck. | 0:25:47 | 0:25:52 | |
It's like a very low rent Mr Benn. | 0:25:54 | 0:25:56 | |
The Fighter is so full of clangers, it makes me want to hurt someone. | 0:26:01 | 0:26:06 | |
Not Marky Mark obviously, he's a bit tough. | 0:26:06 | 0:26:09 | |
And not Bale, the lunatic! | 0:26:09 | 0:26:11 | |
But Rock 'Em Sock 'Em Robots would help vent my frustrations. | 0:26:13 | 0:26:16 | |
It's good, Dick. I'm just trying to figure out what's best for me. | 0:26:16 | 0:26:20 | |
Where have they gone? I wasn't going to break them. | 0:26:22 | 0:26:26 | |
I'm sorry, I don't know who you are or why you're taking. | 0:26:26 | 0:26:30 | |
Oh, back now. Well, if you're going to be like that I don't want them. | 0:26:30 | 0:26:34 | |
We're together. Do we need to do this again? Hi, I'm Charlene. | 0:26:34 | 0:26:36 | |
In the emotional King's Speech, | 0:26:38 | 0:26:41 | |
the Monarch struggles with a speech impediment. | 0:26:41 | 0:26:44 | |
However, his missus Queen Bonham Carter has her own struggles. | 0:26:44 | 0:26:50 | |
Her veil keeps moving on its own accord. | 0:26:50 | 0:26:52 | |
First it's down... | 0:26:52 | 0:26:55 | |
Indentured servitude? | 0:26:55 | 0:26:56 | |
..then it's up... | 0:26:56 | 0:26:59 | |
Well, we need to have your hubby pop by. | 0:26:59 | 0:27:02 | |
-Tuesday would be good. -..then it's down. | 0:27:02 | 0:27:05 | |
They should make a film of that - The Queen's Manic Depressive Veil. | 0:27:05 | 0:27:09 | |
Greetings, bold traveller. Far have you journeyed in the search | 0:27:11 | 0:27:14 | |
of mistakes from the realm of fantasy films and weary must ye be, | 0:27:14 | 0:27:17 | |
but finally ye shall be rewarded with what ye seek. | 0:27:17 | 0:27:21 | |
First I will need drop of monk's wood from the vial of crisal wood | 0:27:21 | 0:27:25 | |
to unlock the spell... Oh, stop this. Just play the clips. | 0:27:25 | 0:27:27 | |
Here are the fantasy film mistakes. Yeah. No, over there. | 0:27:27 | 0:27:33 | |
Over to Narnia and the exciting and epic Voyage Of The Dawn Treader. | 0:27:36 | 0:27:39 | |
Look behind our brave explorers That door is firmly closed. How can they get in? | 0:27:39 | 0:27:46 | |
Oh, it's already open and now we HEAR it opening. | 0:27:47 | 0:27:51 | |
DOOR GRUNDLES OPEN | 0:27:51 | 0:27:52 | |
Narnia's a confusing place. What next, a talking lion? | 0:27:52 | 0:27:57 | |
What's your least favourite season? Autumn? Winter? | 0:28:00 | 0:28:05 | |
Mine is The Season Of The Witch. | 0:28:05 | 0:28:07 | |
That felt longer than both autumn and winter put together. | 0:28:07 | 0:28:10 | |
Now, look at the boy's sword. | 0:28:10 | 0:28:12 | |
Did you spot it? Let's see that again. | 0:28:14 | 0:28:17 | |
Perhaps you can be of service. | 0:28:17 | 0:28:20 | |
The sword swaps hands. Witchcraft, or maybe glitch craft? | 0:28:22 | 0:28:28 | |
The actors in this half-hearted and messy take on Red Riding Hood | 0:28:31 | 0:28:34 | |
must be a bit chilly. | 0:28:34 | 0:28:37 | |
It's clearly the middle of winter, | 0:28:37 | 0:28:39 | |
but everyone's wearing short-sleeved garments. | 0:28:39 | 0:28:42 | |
Rumours that this film was shot on a Saturday night out in Newcastle have yet to be confirmed. | 0:28:44 | 0:28:48 | |
Clint Eastwood's flawed fantasy Hereafter now, and in this scene, | 0:28:52 | 0:28:56 | |
an expert is telling us about the great Charles Dickens. | 0:28:56 | 0:29:00 | |
Over here on this wall we have several illustrations for The Mystery of Edward Drood... | 0:29:00 | 0:29:05 | |
Oh dear. I hate to be a know-it-all, | 0:29:05 | 0:29:08 | |
but I think you'll find it was The Mystery of Edwin Drood, not Edward Drood. | 0:29:08 | 0:29:12 | |
To think I had such great expectations for this film. | 0:29:12 | 0:29:16 | |
This is the film Your Highness, | 0:29:19 | 0:29:22 | |
and this poor, helpless maiden is tied down so tightly she can barely move. | 0:29:22 | 0:29:28 | |
But at the end of the scene, she's able to sit up quite easily whilst still being tied down. | 0:29:30 | 0:29:36 | |
Your Highness, the film that hits an all-time lowness. | 0:29:36 | 0:29:41 | |
Action films now. None of your namby-pamby romance or any of that girly stuff. | 0:29:43 | 0:29:49 | |
Films for blokes, full of explosions and fights and guns. | 0:29:49 | 0:29:52 | |
Films for real men. Real men like me! | 0:29:52 | 0:29:55 | |
Are you talking to me?! Are you talking to me?! | 0:29:55 | 0:29:58 | |
Oh, you are talking to me. | 0:29:58 | 0:30:00 | |
What... We can't have the gun. Health and safety. Oh, OK. | 0:30:00 | 0:30:04 | |
GUN BLASTS | 0:30:04 | 0:30:05 | |
And talking of being sorry, | 0:30:06 | 0:30:07 | |
I got kicked out of my local cinema the other week | 0:30:07 | 0:30:10 | |
after I went up to the lady at the ticket kiosk and told her I was looking for a bit of action. | 0:30:10 | 0:30:14 | |
I only wanted a ticket to see the new Jason Statham film. | 0:30:14 | 0:30:18 | |
Well, that's what I told the police anyway. | 0:30:18 | 0:30:20 | |
Nice vest. | 0:30:22 | 0:30:24 | |
It's the ridiculous The Expendables, | 0:30:24 | 0:30:27 | |
where the most expendable thing is that vest. | 0:30:27 | 0:30:30 | |
Sly got on board wearing it... | 0:30:32 | 0:30:34 | |
Now it's off. | 0:30:34 | 0:30:36 | |
He hangs up his guns... | 0:30:37 | 0:30:39 | |
And it's on again. | 0:30:42 | 0:30:43 | |
And then it isn't. | 0:30:44 | 0:30:46 | |
I haven't seen this much vest removal since Take That at Wembley in 1995. | 0:30:46 | 0:30:51 | |
Cockney legend Statham starting some aggro with some sweaty crims. | 0:30:55 | 0:31:00 | |
Here he is pokin' along on his bike in his levver jacket and 'elmet. | 0:31:00 | 0:31:04 | |
That'll take a while to take off. | 0:31:04 | 0:31:07 | |
But in an instant his trouble and strife is strolling away wiv his gear. | 0:31:08 | 0:31:13 | |
Would you Adam and Eve it? | 0:31:13 | 0:31:15 | |
A horrible scene of torture from The Expendables, | 0:31:20 | 0:31:23 | |
but not as horrible as this goof. | 0:31:23 | 0:31:25 | |
SHE SCREAMS | 0:31:27 | 0:31:29 | |
MAN SPEAKS IN SPANISH | 0:31:29 | 0:31:30 | |
She gives a defiant kick to her captors... | 0:31:30 | 0:31:33 | |
THEY SPEAK IN SPANISH | 0:31:36 | 0:31:38 | |
However, when she falls, you can see that her legs are tied together. | 0:31:38 | 0:31:42 | |
Maybe the director was too tied up to notice this. Thanks again. Thanks. | 0:31:42 | 0:31:46 | |
Cameron Diaz, in the straightforward and predictable Knight And Day, | 0:31:48 | 0:31:52 | |
is being harassed by this villain in his neat beard. | 0:31:52 | 0:31:57 | |
Wow, that beard could make any self-respecting man jealous. | 0:31:57 | 0:32:02 | |
But not as much as his ability to grow a full beard later that day. | 0:32:02 | 0:32:08 | |
Blimey. I can't even do Movember. | 0:32:08 | 0:32:11 | |
Here's Angelina Jolie as Salt in the far-fetched Salt. | 0:32:13 | 0:32:18 | |
Now, too much salt is bad for you, so let's keep this short. | 0:32:18 | 0:32:22 | |
Here she's brought along an ashtray and a packet of fags. | 0:32:22 | 0:32:26 | |
What about your insides, Salt? | 0:32:26 | 0:32:28 | |
-I need to get to the phone. -No, no, no. | 0:32:28 | 0:32:30 | |
Someone should really hide them. Oh, they have! | 0:32:30 | 0:32:33 | |
But you can't fool Salt. She finds them again. | 0:32:33 | 0:32:37 | |
Her IQ is as high as her blood pressure. | 0:32:37 | 0:32:39 | |
Looks like Salt's about to get on a bouncy castle. | 0:32:41 | 0:32:45 | |
She knows the rules. No shoes. | 0:32:45 | 0:32:48 | |
That's right. Put them neatly behind you. | 0:32:48 | 0:32:52 | |
But in the CCTV shot, they're scattered all over the place. | 0:32:52 | 0:32:55 | |
No party bag for you! | 0:32:55 | 0:32:58 | |
In this climactic scene, Salt... Spoiler alert! | 0:33:01 | 0:33:06 | |
..kills the Russian president. | 0:33:06 | 0:33:08 | |
And speaking of spoiling things, take a look at the dead pres. | 0:33:08 | 0:33:12 | |
We need a medical crew down in the crypt. | 0:33:12 | 0:33:14 | |
No need to look for a pulse. His eyes can tell you he's totally fine. | 0:33:14 | 0:33:18 | |
They say dead men don't talk, but apparently they do blink. | 0:33:21 | 0:33:25 | |
Now, this is the melodramatic Sanctum, | 0:33:28 | 0:33:31 | |
and you'll need to watch very carefully. | 0:33:31 | 0:33:34 | |
Something the director failed to do when they picked a stuntman. | 0:33:35 | 0:33:39 | |
Look, a watch in this shot and no watch during the stunt. | 0:33:39 | 0:33:44 | |
I wouldn't give this movie the time of day. | 0:33:47 | 0:33:50 | |
I always thought that box office number ones | 0:33:53 | 0:33:56 | |
were what the staff at the multiplex did when they had too many fizzy drinks. | 0:33:56 | 0:34:00 | |
It turns out I was just wrong about that. | 0:34:00 | 0:34:03 | |
Anyway, the mistakes you're about to see are all from movies which raked in the most money | 0:34:03 | 0:34:08 | |
and were Top of the Pops in the week of their release. | 0:34:08 | 0:34:10 | |
Rumours that Fast Five only got there through charging £250 a ticket are unsubstantiated. | 0:34:10 | 0:34:17 | |
It's the mawkish Due Date, and Robert Downey Jr's looking cool. | 0:34:20 | 0:34:25 | |
Peter... OK, listen. | 0:34:25 | 0:34:28 | |
He's even got those light-sensitive sunglasses. | 0:34:28 | 0:34:31 | |
Though this scene must have been filmed on a very changeable day, | 0:34:31 | 0:34:34 | |
as his glasses go from very dark to... | 0:34:34 | 0:34:37 | |
-I just didn't want to go... -..completely gone. | 0:34:38 | 0:34:40 | |
Proof that the director also needed specs. | 0:34:40 | 0:34:43 | |
We say a deathly hallow to Harry Potter and chums | 0:34:45 | 0:34:48 | |
in this lively scene where they're transported from a fiery tent... | 0:34:48 | 0:34:53 | |
to the safety of... | 0:34:53 | 0:34:54 | |
oncoming traffic. | 0:34:54 | 0:34:57 | |
But look again. | 0:34:57 | 0:34:58 | |
Harry's is on Hermione's left and Ron on her right. | 0:34:58 | 0:35:03 | |
But when they reappear, it's the other way round. | 0:35:04 | 0:35:08 | |
In this gory scene from the disappointing Little Fockers, | 0:35:10 | 0:35:13 | |
Ben Stiller slices straight through his finger, | 0:35:13 | 0:35:17 | |
making Bobby De Niro Bloody De Niro. | 0:35:17 | 0:35:20 | |
THEY ALL SCREAM | 0:35:20 | 0:35:22 | |
But there's blood on the right side of his face when earlier it was all over his left. | 0:35:23 | 0:35:28 | |
That's not just blood on your face, Bobby. There's egg on it too. | 0:35:29 | 0:35:33 | |
The Expendables, and Sly Stallone's got a gun ready to use | 0:35:37 | 0:35:40 | |
in an exciting escape from some bad men. | 0:35:40 | 0:35:44 | |
BRAKES SCREECH | 0:35:44 | 0:35:46 | |
I worry that these days Sly's mind is not what it used to be. | 0:35:48 | 0:35:53 | |
Look, he's forgotten that he should be holding the gun, | 0:35:53 | 0:35:57 | |
not having it in his belt. | 0:35:57 | 0:35:58 | |
But once Statham shouts the magic words, the gun's back... | 0:35:58 | 0:36:03 | |
for Sly to throw away. | 0:36:03 | 0:36:04 | |
A clever scene from Transformers | 0:36:07 | 0:36:09 | |
with real footage of President Nixon on the TV. | 0:36:09 | 0:36:12 | |
And they've carefully recreated the set to match it. | 0:36:12 | 0:36:16 | |
However, was it too much of a push to get a lamp? | 0:36:16 | 0:36:20 | |
It's here but not here. | 0:36:20 | 0:36:22 | |
No, that would've been a giant leap too far. | 0:36:22 | 0:36:26 | |
Fast paced sci-fi thrills in Limitless, | 0:36:28 | 0:36:31 | |
and for a man with no limits, | 0:36:31 | 0:36:33 | |
Bradley Cooper really struggles with the little things. | 0:36:33 | 0:36:36 | |
Like sitting down on a chair properly. | 0:36:36 | 0:36:39 | |
Oh, come on, don't cry. Look, the chair's back up again! | 0:36:41 | 0:36:45 | |
You can have another go! | 0:36:45 | 0:36:47 | |
My mother always used to say, | 0:36:51 | 0:36:53 | |
"Never fly-kick a man with a massive hammer in the face." | 0:36:53 | 0:36:56 | |
Sadly, Mila's mum didn't, which is bad news, | 0:36:56 | 0:36:59 | |
because this man is going to hit Mila with the massive hammer. | 0:36:59 | 0:37:04 | |
However, it's not all bad, because at least he hit her into a nice, soft bouncy wall. | 0:37:04 | 0:37:10 | |
See? Every hammer has a silver lining. | 0:37:12 | 0:37:14 | |
Now this girl's in pursuit. | 0:37:18 | 0:37:21 | |
She slides underneath, shooting him as she goes. | 0:37:21 | 0:37:24 | |
But wait. | 0:37:24 | 0:37:26 | |
Look, that hammer's going to land on her! | 0:37:26 | 0:37:28 | |
Phew. Saved by a continuity error. | 0:37:28 | 0:37:32 | |
MC Hammer snuffs it and she's not even there. | 0:37:32 | 0:37:35 | |
Adrenalin-pumping Fast Five now, and when robbing a bank, | 0:37:41 | 0:37:45 | |
attention to detail really counts. | 0:37:45 | 0:37:47 | |
Here the safe's unlocked with a right-hand print. | 0:37:47 | 0:37:51 | |
Young Mia then goes to extreme measures, | 0:37:56 | 0:37:59 | |
grabbing his print on her bikini. | 0:37:59 | 0:38:00 | |
But it's the left hand. | 0:38:03 | 0:38:05 | |
That shouldn't work, then. Caught you red-handed AND red-faced! | 0:38:05 | 0:38:09 | |
-So did he just slap that -BLEEP -or did he grab and hold onto it? | 0:38:09 | 0:38:14 | |
The only thing that keeps me on the edge of my seat more than | 0:38:16 | 0:38:19 | |
watching a good thriller is a really, really small seat. | 0:38:19 | 0:38:23 | |
I love a good thriller - it's my favourite genre of film. | 0:38:23 | 0:38:26 | |
It's also a Michael Jackson album title. | 0:38:26 | 0:38:29 | |
I also like films that are bad, dangerous or simply off the wall! | 0:38:29 | 0:38:33 | |
HE LAUGHS | 0:38:33 | 0:38:36 | |
Now the fraught and claustrophobic Buried. | 0:38:39 | 0:38:43 | |
Here, Ryan Reynolds unties his hands and removes the gag around his neck. | 0:38:43 | 0:38:48 | |
But then out of nowhere... | 0:38:48 | 0:38:50 | |
..the gag's back around his neck! | 0:38:54 | 0:38:56 | |
For a film full of gags, it's just not funny. | 0:38:56 | 0:39:00 | |
Now Ryan grabs a pen and writes with his left hand. | 0:39:04 | 0:39:07 | |
But when the shot changes, it's suddenly his right. | 0:39:08 | 0:39:11 | |
So as well as being a big Hollywood star, he's also ambidextrous! | 0:39:11 | 0:39:15 | |
Talk about buried talent! | 0:39:16 | 0:39:18 | |
It's the gripping and gritty film The Town. | 0:39:23 | 0:39:26 | |
The thing about towns nowadays is that businesses can change | 0:39:26 | 0:39:30 | |
so quickly, can't they? | 0:39:30 | 0:39:32 | |
Look at the bar across the road from this flower shop. | 0:39:32 | 0:39:36 | |
-It's called Fitzgerald's, right? -I'm in. | 0:39:38 | 0:39:40 | |
I have this. | 0:39:40 | 0:39:42 | |
Well, not any more, because we see the bar is now called The Junction. | 0:39:42 | 0:39:46 | |
Sounds like a naff gastropub to me. | 0:39:46 | 0:39:49 | |
Matthew McConaughey in the solidly crafted Lincoln Lawyer. | 0:39:51 | 0:39:56 | |
-Get the hell out of my house. -Take that, M Dog! | 0:39:56 | 0:39:58 | |
I told you my son didn't kill... | 0:39:58 | 0:40:00 | |
Lucky it was his left arm so he can shoot right back at her. | 0:40:00 | 0:40:02 | |
Oh, hang on, that's his right arm in the sling. | 0:40:10 | 0:40:14 | |
Sue the doctors for malpractice, Matthew, | 0:40:14 | 0:40:17 | |
and then get a better lawyer than yourself to represent you. | 0:40:17 | 0:40:20 | |
I thought I told you to be careful. | 0:40:20 | 0:40:22 | |
Onto the intriguing Adjustment Bureau | 0:40:26 | 0:40:30 | |
and Matt Damon has a phone in his coffee. | 0:40:30 | 0:40:32 | |
Personally I prefer milk and sugar. | 0:40:32 | 0:40:34 | |
-'You won't believe who I just ran into?' -Who? -'The girl from...' | 0:40:34 | 0:40:36 | |
But what's this? Moments later, he's talking on a different phone. | 0:40:36 | 0:40:41 | |
The one you kissed? | 0:40:41 | 0:40:42 | |
-However, keep watching as during the same conversation... -Whatever, dude. | 0:40:42 | 0:40:45 | |
-It won't work again. -..he's back on the BlackBerry. | 0:40:45 | 0:40:49 | |
And you didn't write it? | 0:40:49 | 0:40:50 | |
Now Matt's looking at an article so good they've printed it twice. | 0:40:54 | 0:40:59 | |
See, it's the same chunk of text here and here. | 0:40:59 | 0:41:04 | |
How lazy to just repeat the same thing over again. | 0:41:04 | 0:41:06 | |
How lazy to just repeat the same thing over again. | 0:41:06 | 0:41:09 | |
It's torturous suspense flick The Resident. | 0:41:11 | 0:41:15 | |
And weirdo Max has snuck into Juliet's bedroom to get some | 0:41:15 | 0:41:18 | |
kind of creepy thrill from not quite touching her. | 0:41:18 | 0:41:21 | |
However, the really odd bit is Juliet lying on her side... | 0:41:23 | 0:41:27 | |
then instantly she's on her back. | 0:41:27 | 0:41:30 | |
You've been out-weirded, Max! | 0:41:30 | 0:41:32 | |
Go back home and count your toenail clippings collection. | 0:41:32 | 0:41:35 | |
ALARM BEEPS | 0:41:37 | 0:41:38 | |
Oh, no! It's 8:27am and Juliet's overslept. | 0:41:38 | 0:41:42 | |
Hurry up, Juliet, get your trousers on. It's awful when you oversleep. | 0:41:44 | 0:41:49 | |
You just can't get your brain into gear. | 0:41:49 | 0:41:51 | |
And Juliet's not got her brain into gear as she's making a call | 0:41:53 | 0:41:56 | |
when her phone is clearly still locked. | 0:41:56 | 0:41:59 | |
I seriously overslept. | 0:42:00 | 0:42:02 | |
Now, an abysmal film, | 0:42:06 | 0:42:08 | |
The Roommate, where the roommates in question take a photo of themselves. | 0:42:08 | 0:42:12 | |
That shot will look great on the shared house wall. | 0:42:12 | 0:42:15 | |
Shame they get a different picture from the wrong angle then. | 0:42:15 | 0:42:19 | |
And if they can't agree on that, it'll be murder | 0:42:19 | 0:42:22 | |
when they do the cleaning rota. | 0:42:22 | 0:42:24 | |
It's the contrived mystery movie Unknown. | 0:42:27 | 0:42:30 | |
And here's an quick science lesson - what happens when you use something | 0:42:30 | 0:42:35 | |
that gives out an electric shock on something that's soaking wet? | 0:42:35 | 0:42:38 | |
A nasty electric shock for everyone concerned. | 0:42:41 | 0:42:44 | |
However, concern is not something these ambulance men seem to have. | 0:42:44 | 0:42:49 | |
In Unknown, Diane Kruger gets knocked unconscious with chloroform. | 0:42:52 | 0:42:58 | |
But when one of her eyes is opened to check she's out, the other one opens as well. | 0:42:58 | 0:43:02 | |
Blink and you'd miss it. | 0:43:02 | 0:43:04 | |
Wink and you'd be better for the part than Diane. | 0:43:04 | 0:43:07 | |
And now another movie storyline's faults are reviewed | 0:43:10 | 0:43:13 | |
and exposed in Great Plothole Mistakes. | 0:43:13 | 0:43:16 | |
In the exhausting action-packed thrill-fest | 0:43:16 | 0:43:19 | |
that is Raiders of the Lost Ark, | 0:43:19 | 0:43:22 | |
it's 1936 and celebrated archaeologist Dr Indiana Jones | 0:43:22 | 0:43:25 | |
is approached by army intelligence. | 0:43:25 | 0:43:27 | |
They tell him that Hitler's obsession with the occult has led him to seek the Ark of the Covenant, | 0:43:27 | 0:43:32 | |
a sacred relic containing the wrath of God. | 0:43:32 | 0:43:35 | |
In our version, Indy says, "Listen, guys, I just got back from Peru. | 0:43:35 | 0:43:40 | |
"I've been chased by a massive ball. I'm shattered. | 0:43:40 | 0:43:43 | |
"I've got lots of post to open, the garden's been neglected | 0:43:43 | 0:43:46 | |
"and this hat needs dry cleaning. I might give this one a miss." | 0:43:46 | 0:43:49 | |
"But the Ark of the Covenant, Dr Jones!" "Yeah, you know what? | 0:43:49 | 0:43:51 | |
"It won't make much difference whether I go or not." | 0:43:51 | 0:43:56 | |
So while Indy stays at home and gets his stuff sorted, | 0:43:56 | 0:43:58 | |
the Nazis get the Ark undisturbed, | 0:43:58 | 0:44:02 | |
transport it from Egypt all the way back to Berlin where | 0:44:02 | 0:44:05 | |
a triumphant Fuhrer pops the lid in front of his evil acolytes. | 0:44:05 | 0:44:09 | |
"Oh, goody!" And it melts his stupid face off, averting World War II. | 0:44:09 | 0:44:14 | |
Comedy now. People have a lot of theories about comedy. | 0:44:18 | 0:44:22 | |
They say tragedy plus time equals comedy. | 0:44:22 | 0:44:25 | |
But Bambi came out years ago and every time I watch it, | 0:44:25 | 0:44:28 | |
I bawl my eyes out. But then my mother was a deer. | 0:44:28 | 0:44:31 | |
They also say it takes more muscles to frown than it does to smile. | 0:44:31 | 0:44:35 | |
No wonder I felt so exhausted watching Cheaper By The Dozen 2. | 0:44:35 | 0:44:40 | |
But most importantly, they say the secret of comedy is timing. | 0:44:40 | 0:44:44 | |
Knowing the exact moment to say something hilarious. | 0:44:46 | 0:44:50 | |
Actually, thinking about it, timing isn't quite as important as having something funny to say. | 0:44:52 | 0:44:56 | |
Sorry. | 0:44:56 | 0:44:58 | |
Junior Suite... | 0:45:00 | 0:45:02 | |
It's quirky and unusual Cedar Rapids where Tim is staying 112. | 0:45:02 | 0:45:08 | |
It's strange then that when Dean arrives, he says... | 0:45:08 | 0:45:10 | |
Double stock my minibar, please, 1019. Thank you. | 0:45:10 | 0:45:15 | |
Because, look, he's also staying in 112 with Tim and also Ronald. | 0:45:15 | 0:45:19 | |
Someone in 1019 is going to get a nice surprise. | 0:45:19 | 0:45:22 | |
Now notice all the climbers on the wall with Tim are securely | 0:45:26 | 0:45:30 | |
tied on with ropes and harnesses to avoid falling off. | 0:45:30 | 0:45:35 | |
Or suddenly inexplicably vanishing. | 0:45:35 | 0:45:38 | |
Low brow and proud of it, it's Hall Pass | 0:45:41 | 0:45:44 | |
and I do wish that that guy would stop flashing his chest about. | 0:45:44 | 0:45:48 | |
His shirt agrees and has taken it upon itself to button up. | 0:45:48 | 0:45:52 | |
It's one of those self-fastening shirts. | 0:45:53 | 0:45:56 | |
The trouble with those is that they've got a habit of... | 0:45:56 | 0:46:00 | |
-Yeah, it's unbuttoned again. -I gotta get going. | 0:46:00 | 0:46:03 | |
We have a team meeting in 20 minutes. | 0:46:03 | 0:46:04 | |
Best do it up yourself, yeah, fella. | 0:46:04 | 0:46:07 | |
Sam Jackson and The Rock are wearing no ordinary medals | 0:46:09 | 0:46:14 | |
in this frantic comedy, The Other Guys, they're mood medals. | 0:46:14 | 0:46:18 | |
And we'd do it again and again. | 0:46:18 | 0:46:20 | |
They disappear when they get angry. | 0:46:20 | 0:46:22 | |
-If we want to hear you talk, I will shove my arm up your -BLEEP | 0:46:22 | 0:46:25 | |
and work your mouth like a puppet! You hear me?! You hear me? | 0:46:25 | 0:46:28 | |
And reappear when they're happy again. See? | 0:46:28 | 0:46:31 | |
Either that or someone's been "medalling" - thanks - with the props. | 0:46:31 | 0:46:35 | |
A police officer must always know where his gun is. | 0:46:39 | 0:46:43 | |
However, Will Ferrell has forgotten his golden rule - | 0:46:43 | 0:46:46 | |
he's rolling around on top of it. | 0:46:46 | 0:46:48 | |
Only for it to return to his holster moments later. | 0:46:50 | 0:46:54 | |
Here, Will Ferrell is in a violent rage with Alan Partridge. | 0:46:58 | 0:47:04 | |
They say you can't reproduce truly great art, | 0:47:04 | 0:47:06 | |
but when Will takes this mediocre squiggle off the wall, | 0:47:06 | 0:47:09 | |
an exact reproduction immediately takes its place. | 0:47:09 | 0:47:12 | |
The very raw comedy Horrible Bosses. | 0:47:15 | 0:47:18 | |
Jamie Foxx is given a suitcase full of money. | 0:47:19 | 0:47:23 | |
Well, a bit of money. | 0:47:23 | 0:47:24 | |
Anyway, he'd best latch the suitcase all the same. Good man. | 0:47:24 | 0:47:28 | |
But spool forward a bit... | 0:47:30 | 0:47:32 | |
and the latches are undone again. | 0:47:32 | 0:47:35 | |
With all that cash, you'd think he'd be able to buy a better suitcase. | 0:47:35 | 0:47:39 | |
One of my favourites, Big Momma 3, with an angry woman | 0:47:41 | 0:47:45 | |
covered in white foam making a mess of the door. | 0:47:45 | 0:47:48 | |
-Never mind. Here's Big Momma's peerless acting skills. -Me?! | 0:47:49 | 0:47:53 | |
-Well, thank you, sure. -But who's cleaned up that door? | 0:47:53 | 0:47:58 | |
What a shame. This silly blunder ruins an otherwise perfect film(!) | 0:47:58 | 0:48:03 | |
Historical movies are a personal favourite of mine. | 0:48:05 | 0:48:08 | |
I often picture myself cast in a lavish version of a classic Jane Austen movie - | 0:48:08 | 0:48:13 | |
Mr Darcy in a drenched shirt, open to the waist, | 0:48:13 | 0:48:15 | |
climbing out of the water, whilst watching, in anticipation, | 0:48:15 | 0:48:18 | |
dressed in a gorgeous bodice, holding a parasol, there I am. | 0:48:18 | 0:48:22 | |
"Oh, Mr Darcy!" That's how I'd do it. | 0:48:22 | 0:48:26 | |
Oscar fodder with the classy remake of True Grit. | 0:48:29 | 0:48:34 | |
And times sure were tough in 19th-century Texas. | 0:48:34 | 0:48:37 | |
Unless, that is, you're the heroine Mattie Ross | 0:48:37 | 0:48:40 | |
and you have the amazing ability to go from soaking wet... | 0:48:40 | 0:48:43 | |
..to bone dry in ten seconds flat. | 0:48:51 | 0:48:53 | |
Consumer issues now and here, | 0:48:57 | 0:48:59 | |
Jeff Bridges shows his disgust with the corn bread | 0:48:59 | 0:49:01 | |
in his bargain bucket | 0:49:01 | 0:49:03 | |
by spilling them out of the bag and shooting them. | 0:49:03 | 0:49:05 | |
Luckily, it's Colonel Sanders' disappearing corn - | 0:49:05 | 0:49:08 | |
it's nowhere to be seen. | 0:49:08 | 0:49:10 | |
Well, he won't have to waste any more precious bullets. | 0:49:14 | 0:49:16 | |
A ropey gaff now. See that chap hanging around in the branches? | 0:49:20 | 0:49:24 | |
One minute he's top of the tree, next he's swinging a lot lower. | 0:49:24 | 0:49:29 | |
How Jeff Bridges doesn't twig, I'll never know. | 0:49:29 | 0:49:32 | |
Frivolous grave robbing jokery with Burke and Hare, | 0:49:36 | 0:49:39 | |
and here's Simon Pegg chatting up her off of Home & Away. | 0:49:39 | 0:49:42 | |
-When will I be able to see you again, Jenny? -At the Lyceum Theatre. | 0:49:42 | 0:49:46 | |
-Really? When? -When we put... | 0:49:46 | 0:49:49 | |
Maybe in 55 years' time, when the Lyceum Theatre is actually built. | 0:49:49 | 0:49:53 | |
-Goodnight, William. -That's certainly one way to ditch a guy. | 0:49:53 | 0:49:56 | |
Burke and Hare are chopping down a tree to stop a coach. | 0:50:02 | 0:50:05 | |
And who's inside? Urgh! | 0:50:07 | 0:50:10 | |
If I saw a coach with Michael Winner inside, I wouldn't want to stop it. | 0:50:10 | 0:50:14 | |
But they've only made a tiny dent at chest height. | 0:50:14 | 0:50:17 | |
Come on, put your back into it! | 0:50:17 | 0:50:19 | |
However, this being the crazy world of true life drama, the entire tree comes tumbling down. | 0:50:19 | 0:50:25 | |
Uh-oh. The winner takes a fall. | 0:50:25 | 0:50:28 | |
-Hmm, that table looks a little bare. -Lovely. | 0:50:37 | 0:50:40 | |
I know what's missing - she forgot the flowers. | 0:50:41 | 0:50:45 | |
Oh, there they are. | 0:50:45 | 0:50:46 | |
-Thank you. -Bit of an odd side dish, though. | 0:50:46 | 0:50:49 | |
Here's BAFTA-winning actor Tom Wilkinson | 0:50:54 | 0:50:56 | |
unveiling my nominees for the best actor in the movie Burke and Hare. | 0:50:56 | 0:51:00 | |
But which corpse wins? None of them! | 0:51:02 | 0:51:05 | |
The award goes to the incredible moving blanket. | 0:51:05 | 0:51:09 | |
First the corpses are uncovered - | 0:51:09 | 0:51:12 | |
quick round of applause - | 0:51:12 | 0:51:15 | |
then one of them is covered up again. | 0:51:15 | 0:51:17 | |
A bravura performance! | 0:51:18 | 0:51:21 | |
Solving a crime, sir. | 0:51:27 | 0:51:28 | |
The cream of British talent drops some home-grown blunders here. | 0:51:28 | 0:51:32 | |
What on earth are you talking about? | 0:51:32 | 0:51:35 | |
There's Ronnie Corbett - not a mistake, he actually is that small. | 0:51:35 | 0:51:38 | |
I don't know what this little man is trying to prove. | 0:51:38 | 0:51:42 | |
-Stephen Merchant plays goldfish bowl holder 4. -I want him removed. | 0:51:42 | 0:51:46 | |
-It is you, sir! -And now Tim Curry, co-starring with his teeth. | 0:51:46 | 0:51:50 | |
But ignore them and watch his background. He steps forward. | 0:51:53 | 0:51:56 | |
But look, the background remains the same, | 0:51:58 | 0:52:02 | |
suggesting he didn't step forward at all. | 0:52:02 | 0:52:05 | |
We shall all have to pay the price. | 0:52:05 | 0:52:07 | |
And now Merchant's bowl has disappeared. | 0:52:07 | 0:52:11 | |
And to think he was chief bowl holder at the RSC. What an insult! | 0:52:11 | 0:52:17 | |
Rip-roaring Roman caper The Eagle now and this looks like such | 0:52:20 | 0:52:24 | |
an arduous journey it would give anyone a shock. | 0:52:24 | 0:52:26 | |
It certainly did to Jamie Bell's horse who overnight changes | 0:52:28 | 0:52:32 | |
colour from brown to white with no explanation. | 0:52:32 | 0:52:36 | |
The dark and brutal Killer Inside Me | 0:52:38 | 0:52:40 | |
starring Casey Affleck as a deputy sheriff-cum-homicidal maniac. | 0:52:40 | 0:52:45 | |
Ho-hum, you might think. | 0:52:45 | 0:52:47 | |
But I feel anguish and I'm sorry. | 0:52:47 | 0:52:50 | |
But look all of a sudden, he's clutching a thick wooden plank! | 0:52:50 | 0:52:54 | |
Superb uncredited cameo from his brother Ben. | 0:52:54 | 0:52:58 | |
When a film is described as "cultural," | 0:53:00 | 0:53:02 | |
that probably means it hasn't got a good enough story to be popular, | 0:53:02 | 0:53:06 | |
so it's being passed off as art. | 0:53:06 | 0:53:08 | |
"Mm, yes, it's supposed to be boring! That's the point!" | 0:53:08 | 0:53:11 | |
You can explain away all kinds of things using the art house excuse. | 0:53:11 | 0:53:15 | |
Shaky cameras - it's art. | 0:53:15 | 0:53:16 | |
Gaping plot holes - it's art. | 0:53:16 | 0:53:18 | |
Pretentious acting - that's just Natalie Portman, | 0:53:18 | 0:53:20 | |
there's nothing we can do about that now. | 0:53:20 | 0:53:22 | |
Some films are pure entertainment. | 0:53:22 | 0:53:25 | |
Others go a little deeper and ask questions like, "Why are we here, | 0:53:25 | 0:53:28 | |
"in the cinema watching another M Night Shyamalan film?" | 0:53:28 | 0:53:32 | |
Natalie Portman's in need of a champagne top-up, I think, | 0:53:34 | 0:53:37 | |
in creepy ballet melodrama Black Swan. | 0:53:37 | 0:53:40 | |
..appreciated presence on our stage. | 0:53:40 | 0:53:42 | |
But being so freaked out by Winona Ryder giving her evils, none of us notice that, | 0:53:42 | 0:53:47 | |
by the end of the scene, the flute is full to the brim again. | 0:53:47 | 0:53:50 | |
To beauty. | 0:53:50 | 0:53:52 | |
Next up, here's It's Kind Of A Funny Story, | 0:53:54 | 0:53:59 | |
a One Flew Over The Cuckoo's Nest for Justin Bieber fans. | 0:53:59 | 0:54:02 | |
And suicidal Craig has to give up all potentially harmful items. | 0:54:02 | 0:54:07 | |
Your belt and shoelaces. | 0:54:07 | 0:54:08 | |
-So his belt and shoelaces are gone. -We can't take chances. | 0:54:08 | 0:54:13 | |
But later on, Craig and another patient Bobby are shooting hoops | 0:54:14 | 0:54:18 | |
with draw-stringed trackie bottoms | 0:54:18 | 0:54:20 | |
and very laced-up shoes. That basket ball's probably | 0:54:20 | 0:54:24 | |
-a cyanide gobstopper. -Don't play dumb with me. | 0:54:24 | 0:54:28 | |
Now, slow-moving alien thriller Monsters and our couple's being | 0:54:30 | 0:54:34 | |
fleeced by a man who'd get Anne Robinson frothing at the mouth. | 0:54:34 | 0:54:38 | |
Um, how much? | 0:54:38 | 0:54:39 | |
That will be 5,000 colones. | 0:54:39 | 0:54:42 | |
-5,000? -Yeah, 5,000. -So that's 5,000 Costa Rican colones. | 0:54:42 | 0:54:46 | |
That will be 5,000 colonies. | 0:54:46 | 0:54:48 | |
-5,000? -Yeah, yeah, 5,000. | 0:54:48 | 0:54:50 | |
-5,000 is a lot of money. -Yes, I know, but... | 0:54:50 | 0:54:54 | |
Oh, it's now 5,000? Big mistake. | 0:54:54 | 0:54:57 | |
At the current exchange rate, 5,000 is... | 0:54:57 | 0:55:00 | |
No wonder this film had no cash for the special effects. | 0:55:04 | 0:55:08 | |
Monsters again and this completely deserted town | 0:55:11 | 0:55:15 | |
isn't quite as deserted as it seems. | 0:55:15 | 0:55:18 | |
Now, before you cower behind the sofa, take another look. | 0:55:18 | 0:55:21 | |
It seems the ali-ons prefer pick-up trucks to spaceships | 0:55:24 | 0:55:26 | |
when they pop to the shop for a pint of milk and a family-sized Galaxy. | 0:55:26 | 0:55:32 | |
Here's feisty teen Ree in gritty drama Winter's Bone. | 0:55:34 | 0:55:39 | |
This confrontation looks like | 0:55:39 | 0:55:41 | |
it'll get pretty tense as the gloves are well and truly off. | 0:55:41 | 0:55:44 | |
No, hang on, they're back on again. | 0:55:45 | 0:55:48 | |
Phew, looks like all will be fine after all. | 0:55:51 | 0:55:54 | |
No, wait, they're off again! Oh, make your mind up, love. | 0:55:56 | 0:56:01 | |
Thanks for watching Great Movie Mistakes. | 0:56:01 | 0:56:04 | |
I hope we haven't completely taken the shine off your favourite films this year, | 0:56:04 | 0:56:09 | |
but for all the little mistakes we've just pointed out, | 0:56:09 | 0:56:12 | |
there's hours and hours of movie footage | 0:56:12 | 0:56:15 | |
where they don't make any mistakes at all. | 0:56:15 | 0:56:17 | |
But if you want to watch them, you'd probably better | 0:56:17 | 0:56:21 | |
download them ilegally online. Bye! | 0:56:21 | 0:56:23 | |
Subtitles by Red Bee Media Ltd | 0:56:40 | 0:56:43 | |
Email [email protected] | 0:56:43 | 0:56:45 |