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Welcome to Great Movie Mistakes III. | 0:00:26 | 0:00:29 | |
That's right, we're a trilogy, | 0:00:29 | 0:00:31 | |
which hopefully means we'll get our own over-priced box sets soon. | 0:00:31 | 0:00:34 | |
Now, I know what you're thinking - | 0:00:34 | 0:00:36 | |
the third part of a trilogy has a certain reputation. | 0:00:36 | 0:00:39 | |
Godfather Part III, Back To The Future III, | 0:00:39 | 0:00:41 | |
Honey, We Shrunk Ourselves... | 0:00:41 | 0:00:43 | |
They all have a reputation for being my favourite part | 0:00:43 | 0:00:46 | |
of the whole trilogy. | 0:00:46 | 0:00:47 | |
So, how have we made this instalment bigger, | 0:00:47 | 0:00:50 | |
better and more impressive than the other two? | 0:00:50 | 0:00:52 | |
Well, how does this sound? | 0:00:52 | 0:00:54 | |
CGI technology, car chases, romantic interests, | 0:00:54 | 0:00:57 | |
a bit where the building folds in on itself, like in Inception? | 0:00:57 | 0:01:01 | |
Well, according to our producers, it sounds too expensive. | 0:01:01 | 0:01:04 | |
So instead, we'll just stick to our perfectly OK formula | 0:01:04 | 0:01:07 | |
of reviewing all the movie mistakes we've spotted | 0:01:07 | 0:01:10 | |
from the top movies released since we last saw you. | 0:01:10 | 0:01:14 | |
Why does Hollywood love remakes so much? | 0:01:16 | 0:01:19 | |
Well, sometimes a film is so close to being brilliant | 0:01:19 | 0:01:21 | |
but there's just one tiny thing that stops it being perfect, | 0:01:21 | 0:01:25 | |
like it's foreign, or it was made over ten years ago. | 0:01:25 | 0:01:27 | |
Things that stop anyone in their right mind wanting to watch it. | 0:01:27 | 0:01:30 | |
The other reason to remake a movie is if the original didn't quite get it right. | 0:01:30 | 0:01:35 | |
Who didn't think that Get Carter was improved by the addition of Sylvester Stallone? | 0:01:35 | 0:01:39 | |
Or that The Italian Job was crying out for a cameo by Marky Mark? | 0:01:39 | 0:01:42 | |
I, for one, can't wait for next year's summer blockbuster, | 0:01:42 | 0:01:46 | |
Citizen Kane... | 0:01:46 | 0:01:47 | |
with Miley Cyrus. | 0:01:47 | 0:01:48 | |
Mm. | 0:01:48 | 0:01:50 | |
The needless, over-the-top A-Team movie, | 0:01:52 | 0:01:55 | |
and maybe they should give up this soldiers-of-fortune malarkey | 0:01:55 | 0:01:59 | |
and become baggage handlers. Watch the case by the side of BA. | 0:01:59 | 0:02:03 | |
I want to kill you, man. | 0:02:03 | 0:02:04 | |
You're not going to kill me! I'm going to kill YOU! | 0:02:04 | 0:02:07 | |
It's now behind his head... | 0:02:07 | 0:02:09 | |
I got two guns here. | 0:02:09 | 0:02:10 | |
..then on the other side. | 0:02:11 | 0:02:14 | |
It moves around more than Hannibal's wig did in the old series. | 0:02:14 | 0:02:18 | |
Whoopsie! | 0:02:18 | 0:02:19 | |
Loyal fans of The A-Team had problems with the remake, | 0:02:21 | 0:02:25 | |
and this must have got their blood boiling. | 0:02:25 | 0:02:27 | |
Look, they've misspelled Murdock's name! | 0:02:27 | 0:02:30 | |
It's D-O-C-K, not D-O-C-H. | 0:02:30 | 0:02:33 | |
I pity the fool who made that mistake. | 0:02:33 | 0:02:36 | |
Saying that, I also pity the person | 0:02:36 | 0:02:38 | |
who still cares so much about The A-Team. | 0:02:38 | 0:02:41 | |
At the end of the instantly forgettable Mechanic remake, | 0:02:46 | 0:02:49 | |
Ben Foster selects a jazz record to play on the posh turntable. | 0:02:49 | 0:02:53 | |
Ah! I love a bit of free form experimental jazz. | 0:02:53 | 0:02:57 | |
CLASSICAL MUSIC PLAYS | 0:02:57 | 0:03:01 | |
Hang on! It's ruddy Shubert's Trio Number Two! | 0:03:01 | 0:03:04 | |
But it definitely says "Jazz" on the cover. | 0:03:06 | 0:03:10 | |
Right, back to HMV. | 0:03:10 | 0:03:12 | |
Gulliver's Travels with Jack Black, | 0:03:14 | 0:03:18 | |
perfect casting, as the book was all about a loveable, | 0:03:18 | 0:03:20 | |
immature, rock-loving idiot. | 0:03:20 | 0:03:22 | |
Cos he called it a "mandate", so... | 0:03:22 | 0:03:23 | |
The kind of character that doesn't know his right hand from his left. | 0:03:23 | 0:03:27 | |
-..bushy-tailed for the boys. -The right... | 0:03:27 | 0:03:29 | |
Now the left. | 0:03:29 | 0:03:31 | |
Jonathan Swift can rest easy that his work is in safe, | 0:03:31 | 0:03:34 | |
but confused hands. | 0:03:34 | 0:03:36 | |
We just got here. | 0:03:36 | 0:03:38 | |
In the final scene, Gulliver returns from his travels | 0:03:40 | 0:03:42 | |
and gains this girlfriend. | 0:03:42 | 0:03:45 | |
When I returned from my travels, all I gained was a case of the trots. | 0:03:45 | 0:03:49 | |
But what has she got to hide? | 0:03:49 | 0:03:52 | |
Her ID is the wrong way round... | 0:03:52 | 0:03:55 | |
Danke schon. | 0:03:55 | 0:03:56 | |
..then it flips... | 0:03:56 | 0:03:57 | |
Mark. I'm just the new guy in the mailroom... | 0:03:57 | 0:04:01 | |
..now it's hidden again. Hm...mysterious. | 0:04:01 | 0:04:04 | |
Some films just don't know when to quit making mistakes. | 0:04:06 | 0:04:10 | |
In the end credits for Gulliver's Travels, | 0:04:10 | 0:04:12 | |
check out the date on this newspaper. | 0:04:12 | 0:04:15 | |
June 20th to June 3rd? | 0:04:15 | 0:04:18 | |
Someone obviously feels like time was moving backwards | 0:04:18 | 0:04:21 | |
when they were watching this film. I didn't. | 0:04:21 | 0:04:24 | |
Off to Jellystone Park for the charmless Yogi Bear movie. | 0:04:26 | 0:04:30 | |
Booboo has handcuffed Yogi to a tree. | 0:04:30 | 0:04:33 | |
But keep an eye on which paw the handcuff is on. | 0:04:33 | 0:04:36 | |
First it's his right paw, | 0:04:37 | 0:04:40 | |
then it's his left paw, | 0:04:40 | 0:04:43 | |
then his right paw again. | 0:04:43 | 0:04:45 | |
Either way, it's very PAW indeed. | 0:04:45 | 0:04:47 | |
Next up, we're looking at teen movies, which, for a man only | 0:04:49 | 0:04:52 | |
recently out of his teens - that's right - is exactly my thing. | 0:04:52 | 0:04:55 | |
PHONE RINGS | 0:04:55 | 0:04:57 | |
They're cool, wicked and totally radical. Oh, excuse me. | 0:04:57 | 0:05:00 | |
Oh, hey, Dazza. Yeah. What's up, dude? | 0:05:01 | 0:05:05 | |
Yeah, I would love to come down the rec and skateboard with you. | 0:05:05 | 0:05:08 | |
-Hang on. Mum, I'm going down the rec with Dazza. -No, you're not. | 0:05:08 | 0:05:13 | |
-Not until you've finished hosting the show. -But Mum! -No buts. | 0:05:13 | 0:05:17 | |
Can't come out. See you tomoz. | 0:05:17 | 0:05:19 | |
-MUMBLING: Here are some classic goofs from teen films. -Say it nicely. | 0:05:22 | 0:05:27 | |
UP-BEAT: Here are some classic goofs from teen films. | 0:05:27 | 0:05:30 | |
I saw that. | 0:05:31 | 0:05:32 | |
Next, in the light-hearted Easy A, Olive shows this boy what's what | 0:05:36 | 0:05:40 | |
by crushing an ice-cream cone in front of his face. | 0:05:40 | 0:05:44 | |
But the cone instantly reappears. Here today, cone tomorrow. | 0:05:44 | 0:05:49 | |
Now, watch Olive trying to take off her left boot | 0:05:53 | 0:05:55 | |
Is that lavender? It's pretty. | 0:05:55 | 0:05:58 | |
Which becomes her right boot, then she takes off her right boot again, | 0:05:58 | 0:06:02 | |
but somehow she's removed both her boots! | 0:06:02 | 0:06:05 | |
A clear example of two rights making a wrong. | 0:06:05 | 0:06:09 | |
In energetic Step Up 3D, it's the dance battle. | 0:06:12 | 0:06:15 | |
And as any B-boy knows, things get hot on the dance floor, | 0:06:15 | 0:06:20 | |
which is why the guy who's with those men pretending to be dogs | 0:06:20 | 0:06:23 | |
keeps taking his coat off. | 0:06:23 | 0:06:25 | |
Now you see it... | 0:06:27 | 0:06:28 | |
Now you don't. | 0:06:28 | 0:06:30 | |
Reminds me of my Nan's 80th. That was a lively affair. | 0:06:30 | 0:06:34 | |
Another one from Step Up, and take a look at Moose's bag, | 0:06:37 | 0:06:41 | |
because it's only on in the shots from behind. | 0:06:41 | 0:06:44 | |
Yeah, I mean I... | 0:06:44 | 0:06:46 | |
I'm a double major... | 0:06:46 | 0:06:47 | |
Now, I know it's a backpack, | 0:06:47 | 0:06:49 | |
but you'd still see the strap on the front, right? | 0:06:49 | 0:06:51 | |
Yes? | 0:06:51 | 0:06:52 | |
What do you mean, you can't believe it? | 0:06:52 | 0:06:55 | |
It's Submarine, a reflective film about a son | 0:06:57 | 0:07:00 | |
trying to smooth out the creases in his parents' relationship. | 0:07:00 | 0:07:04 | |
And by the looks of things, | 0:07:06 | 0:07:07 | |
he's also smoothing out the creases in this drawing. | 0:07:07 | 0:07:11 | |
See? The fold's gone. | 0:07:11 | 0:07:13 | |
No need to set it on fire, though! | 0:07:13 | 0:07:16 | |
Oh! Kids! | 0:07:16 | 0:07:18 | |
Finally, a flashback scene in the worthless Twilight sequel, Eclipse. | 0:07:20 | 0:07:25 | |
Now, clothes in those days were made to last. | 0:07:25 | 0:07:30 | |
Look at that! | 0:07:30 | 0:07:31 | |
She stabs right through her dress and it doesn't even rip. | 0:07:31 | 0:07:35 | |
You don't get that kind of quality at Primark, do you? | 0:07:35 | 0:07:38 | |
When a film is described as "cultural," | 0:07:40 | 0:07:42 | |
that probably means it hasn't got a good enough story to be popular, | 0:07:42 | 0:07:46 | |
so it's being passed off as art. | 0:07:46 | 0:07:48 | |
"Mm, yes, it's supposed to be boring! That's the point!" | 0:07:48 | 0:07:51 | |
You can explain away all kinds of things using the art house excuse. | 0:07:51 | 0:07:55 | |
Shaky cameras - it's art. | 0:07:55 | 0:07:56 | |
Gaping plot holes - it's art. | 0:07:56 | 0:07:58 | |
Pretentious acting - that's just Natalie Portman, | 0:07:58 | 0:08:00 | |
there's nothing we can do about that now. | 0:08:00 | 0:08:02 | |
Some films are pure entertainment. | 0:08:02 | 0:08:05 | |
Others go a little deeper and ask questions like, "Why are we here, | 0:08:05 | 0:08:08 | |
"in the cinema watching another M Night Shyamalan film?" | 0:08:08 | 0:08:12 | |
Natalie Portman's in need of a champagne top-up, I think, | 0:08:14 | 0:08:17 | |
in creepy ballet melodrama Black Swan. | 0:08:17 | 0:08:20 | |
..appreciated presence on our stage. | 0:08:20 | 0:08:22 | |
But being so freaked out by Winona Ryder giving her evils, none of us notice that, | 0:08:22 | 0:08:27 | |
by the end of the scene, the flute is full to the brim again. | 0:08:27 | 0:08:30 | |
To beauty. | 0:08:30 | 0:08:32 | |
Next up, here's It's Kind Of A Funny Story, | 0:08:34 | 0:08:39 | |
a One Flew Over The Cuckoo's Nest for Justin Bieber fans. | 0:08:39 | 0:08:42 | |
And suicidal Craig has to give up all potentially harmful items. | 0:08:42 | 0:08:47 | |
Your belt and shoelaces. | 0:08:47 | 0:08:48 | |
-So his belt and shoelaces are gone. -We can't take chances. | 0:08:48 | 0:08:53 | |
But later on, Craig and another patient Bobby are shooting hoops | 0:08:54 | 0:08:58 | |
with draw-stringed trackie bottoms | 0:08:58 | 0:09:00 | |
and very laced-up shoes. That basketball's probably | 0:09:00 | 0:09:04 | |
-a cyanide gobstopper. -Don't play dumb with me. | 0:09:04 | 0:09:08 | |
Now, slow-moving alien thriller Monsters and our couple's being | 0:09:10 | 0:09:14 | |
fleeced by a man who'd get Anne Robinson frothing at the mouth. | 0:09:14 | 0:09:18 | |
Um, how much? | 0:09:18 | 0:09:19 | |
That will be 5,000 colones. | 0:09:19 | 0:09:22 | |
-5,000? -Yeah, 5,000. -So that's 5,000 Costa Rican colones. | 0:09:22 | 0:09:26 | |
That will be 5,000 colones. | 0:09:26 | 0:09:28 | |
-5,000? -Yeah, yeah, 5,000. | 0:09:28 | 0:09:30 | |
-5,000 is a lot of money. -Yes, I know, but... | 0:09:30 | 0:09:33 | |
Oh, it's now 5,000? Big mistake. | 0:09:33 | 0:09:37 | |
At the current exchange rate, 5,000 is... | 0:09:37 | 0:09:40 | |
No wonder this film had no cash for the special effects. | 0:09:44 | 0:09:48 | |
Monsters again and this completely deserted town | 0:09:51 | 0:09:55 | |
isn't quite as deserted as it seems. | 0:09:55 | 0:09:58 | |
Now, before you cower behind the sofa, take another look. | 0:09:58 | 0:10:01 | |
It seems the ali-ons prefer pick-up trucks to spaceships | 0:10:04 | 0:10:06 | |
when they pop to the shop for a pint of milk and a family-sized Galaxy. | 0:10:06 | 0:10:12 | |
Here's feisty teen Ree in gritty drama Winter's Bone. | 0:10:14 | 0:10:18 | |
This confrontation looks like | 0:10:18 | 0:10:21 | |
it'll get pretty tense as the gloves are well and truly off. | 0:10:21 | 0:10:24 | |
No, hang on, they're back on again. | 0:10:25 | 0:10:28 | |
Phew, looks like all will be fine after all. | 0:10:31 | 0:10:34 | |
No, wait, they're off again! Oh, make your mind up, love. | 0:10:36 | 0:10:39 | |
So often with films, the stars get the awards, | 0:10:41 | 0:10:44 | |
but what about those people behind the scenes? How do they get noticed? | 0:10:44 | 0:10:48 | |
They could become the best in their field or work their way up to become a famous director. | 0:10:48 | 0:10:52 | |
Or they could just stand in the back of shot. | 0:10:52 | 0:10:54 | |
Well, that's exactly what we're awarding now - | 0:10:54 | 0:10:57 | |
those people who went that extra distance | 0:10:57 | 0:10:59 | |
from out-of-shot to into shot. | 0:10:59 | 0:11:01 | |
What? | 0:11:03 | 0:11:04 | |
It's the Great Movie Mistakes Award for Best Supporting Actor, | 0:11:07 | 0:11:10 | |
and here are the nominations. | 0:11:10 | 0:11:13 | |
Lightweight action from Knight And Day and some great scene stealing. | 0:11:13 | 0:11:17 | |
Look at the security guards behind Cameron Diaz. | 0:11:17 | 0:11:20 | |
They suddenly change into normal civilians | 0:11:22 | 0:11:26 | |
and then back into security guards at the top of the escalator. | 0:11:26 | 0:11:30 | |
Maybe they were just working undercover for a bit. | 0:11:31 | 0:11:34 | |
If you've got a problem, maybe you can hire The A-Team, | 0:11:40 | 0:11:44 | |
to clean your windows, because... | 0:11:44 | 0:11:46 | |
Let's go back. | 0:11:46 | 0:11:48 | |
Mr T has got that window so clean, | 0:11:48 | 0:11:51 | |
you can see the cameraman's own reflection in it. | 0:11:51 | 0:11:54 | |
A blatant and unwelcome cameo. A bit like the movie. | 0:11:56 | 0:11:59 | |
In seen-it-all-before thriller The Resident, | 0:12:03 | 0:12:07 | |
Jack returns to his flat and senses all is not right. | 0:12:07 | 0:12:11 | |
If it the presence of a ghostly character? | 0:12:11 | 0:12:14 | |
Or just the reflection of the clumsy cameraman in his kitchen window? | 0:12:14 | 0:12:19 | |
Time to move out, if you ask me, Jack. | 0:12:19 | 0:12:22 | |
Who are you texting? | 0:12:24 | 0:12:26 | |
It's crazy horror comedy Vampires Suck | 0:12:26 | 0:12:28 | |
and Alice gets a mobile phone right in the face. | 0:12:28 | 0:12:32 | |
Now, either Edward is a very good shot or someone just off camera | 0:12:32 | 0:12:38 | |
is throwing a mobile phone right in her face. | 0:12:38 | 0:12:40 | |
There, thrown from point-blank range. | 0:12:41 | 0:12:45 | |
That's a bit "phoney"! | 0:12:45 | 0:12:47 | |
But the winner is Man In Shorts. | 0:12:51 | 0:12:54 | |
It's the climax of the testosterone-dripping Expendables | 0:12:54 | 0:12:58 | |
and all hell is breaking loose. | 0:12:58 | 0:13:01 | |
Everyone's running for their lives, | 0:13:01 | 0:13:03 | |
but hold on, who's this fellow in Bermuda shorts with the camcorder? | 0:13:03 | 0:13:07 | |
A very unfortunate tourist? | 0:13:07 | 0:13:11 | |
Next year, I'd stick to Rhyl. There's fewer explosions. | 0:13:11 | 0:13:14 | |
OK, time for bed. Goodnight! | 0:13:18 | 0:13:20 | |
Subtitles by Red Bee Media Ltd | 0:13:28 | 0:13:32 |