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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 overpriced box set 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... | 0:00:43 | 0:00:45 | |
my favourite part of the whole trilogy, | 0:00:45 | 0:00:47 | |
so how have we made this instalment | 0:00:47 | 0:00:49 | |
bigger, better and more impressive than the other two? | 0:00:49 | 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 | |
They say you should never meet your heroes, | 0:01:16 | 0:01:19 | |
which I guess is why no-one ever comes up to me in the street | 0:01:19 | 0:01:22 | |
and tells me how much they love my work. | 0:01:22 | 0:01:23 | |
Thanks, guys. That means a lot(!) | 0:01:23 | 0:01:25 | |
Every time someone crosses the street to avoid meeting me, | 0:01:25 | 0:01:28 | |
I think to myself, "There goes a true fan." | 0:01:28 | 0:01:31 | |
The hard-boiled and vicious Mechanic goes a bit Weekend At Bernie's | 0:01:37 | 0:01:40 | |
as Jason Statham covers up his killing by making the corpse | 0:01:40 | 0:01:44 | |
swim a few more lengths. | 0:01:44 | 0:01:46 | |
But look at his grip on the dead man's wrists. | 0:01:50 | 0:01:53 | |
It should clearly be visible from above, | 0:01:53 | 0:01:56 | |
but it's not. | 0:01:56 | 0:01:57 | |
What would Bernie say? | 0:01:57 | 0:01:59 | |
Well, nothing. He's dead. | 0:01:59 | 0:02:02 | |
Angelina Jolie in the disjointed film Salt, | 0:02:04 | 0:02:08 | |
here climbs down a lift shaft. | 0:02:08 | 0:02:11 | |
Just a wait few minutes for the lift, you impatient madam. | 0:02:12 | 0:02:15 | |
Thankfully, she emerges from what must be | 0:02:17 | 0:02:19 | |
a filthy and greasy lift shaft | 0:02:19 | 0:02:21 | |
with a pristine white shirt and clean, spotless skin. | 0:02:21 | 0:02:25 | |
How does she do it? | 0:02:25 | 0:02:26 | |
It's the crackpot action movie Red | 0:02:29 | 0:02:31 | |
and Bruce Willis has kidnapped a lady and taped up her mouth. | 0:02:31 | 0:02:36 | |
But the more she gesticulates, the more we can see that | 0:02:36 | 0:02:39 | |
she has enough movement in her arms to take the tape off. | 0:02:39 | 0:02:43 | |
Maybe if she stopped complaining and thought a second she'd work it out. | 0:02:43 | 0:02:47 | |
I'm a little hungry, too. | 0:02:47 | 0:02:49 | |
Moody revenge film Faster now and The Rock hears an eagle call. | 0:02:51 | 0:02:56 | |
# Who's that riding? # | 0:02:57 | 0:02:59 | |
Trouble is, the bird he's seeing is actually a seagull. | 0:02:59 | 0:03:02 | |
Maybe the seagull thinks it'll sound more impressive as an eagle. | 0:03:04 | 0:03:09 | |
A bit like calling yourself "The Rock," | 0:03:09 | 0:03:12 | |
when your real name is Dwayne. | 0:03:12 | 0:03:14 | |
It's the best actor of his generation, 50 Cent, | 0:03:17 | 0:03:20 | |
in the very flat Blood Out | 0:03:20 | 0:03:22 | |
doing some incredible sunglasses acting. | 0:03:22 | 0:03:25 | |
Look good on you, man. | 0:03:25 | 0:03:27 | |
They do look good on him, don't they? | 0:03:27 | 0:03:29 | |
He should never take them off. | 0:03:29 | 0:03:31 | |
Oh, wait a minute, they've disappeared. | 0:03:32 | 0:03:36 | |
That's awful continuity if you want my 50 cents on the matter. | 0:03:36 | 0:03:40 | |
Awards - what are they good for? | 0:03:42 | 0:03:45 | |
Plumping up the already inflated egos of pampered performers. | 0:03:45 | 0:03:49 | |
Rewarding someone for doing a job they've already been paid | 0:03:49 | 0:03:52 | |
far too much money to do in the first place. | 0:03:52 | 0:03:54 | |
As if all performers have a pathetic obsession with recognition. | 0:03:54 | 0:03:57 | |
Awards are a complete sham, a massive waste of time | 0:03:57 | 0:04:00 | |
and, as I stated very loudly at this year's Annual Clip Show Awards, | 0:04:00 | 0:04:03 | |
I'm not interested in stupid awards and, yes, we have been passed over | 0:04:03 | 0:04:07 | |
yet again and, yes, I may have been removed by security | 0:04:07 | 0:04:10 | |
for causing a scene, but there is no way that | 0:04:10 | 0:04:13 | |
Animal Foul Ups deserved to win again. | 0:04:13 | 0:04:16 | |
Speaking of awards, here are some Oscar-nominated clips. | 0:04:16 | 0:04:19 | |
Inception - where strange things happen almost without explanation. | 0:04:23 | 0:04:27 | |
That's not the way I deal with things. | 0:04:27 | 0:04:29 | |
Maybe that's how you justify the rain on the window behind Saito. | 0:04:29 | 0:04:34 | |
But there's no rain on DiCaprio. | 0:04:34 | 0:04:36 | |
And the continuity editor is thrown off the building | 0:04:37 | 0:04:40 | |
-for one too many errors. -What will you do with him? -Nothing. | 0:04:40 | 0:04:44 | |
You'd have thought working on Inception would be a dream job. | 0:04:44 | 0:04:48 | |
Now a maths lesson from revealing biopic The Social Network. | 0:04:50 | 0:04:54 | |
Facebook's run by some of the greatest business minds in the world. | 0:04:54 | 0:04:58 | |
So these numbers will be meticulously crunched. | 0:04:58 | 0:05:01 | |
Let's listen to how their business is divided up. | 0:05:01 | 0:05:04 | |
That represents a 34.4% ownership share. | 0:05:04 | 0:05:08 | |
So Eduardo owns 34.4%. | 0:05:08 | 0:05:11 | |
-You should know that Mark has already taken his percentage from 60 down to 51. -Oh. | 0:05:11 | 0:05:16 | |
Zuckerberg owns 51%. | 0:05:16 | 0:05:18 | |
Who else is in? | 0:05:18 | 0:05:20 | |
Dustin Moskovitz owns 6.81%, | 0:05:20 | 0:05:23 | |
Sean Parker 6.47% and Peter Thiel 7%. | 0:05:23 | 0:05:28 | |
Total 105%! | 0:05:28 | 0:05:31 | |
Would you like to use my pen? | 0:05:31 | 0:05:34 | |
Would you like to use my calculator? | 0:05:34 | 0:05:37 | |
Ooh, the brutal and uncompromising Black Swan now | 0:05:40 | 0:05:43 | |
and check out Natalie Portman's scarf. | 0:05:43 | 0:05:46 | |
Did she kill a white swan to make it? | 0:05:46 | 0:05:49 | |
Anyway, she's about to step through a magical door. | 0:05:49 | 0:05:52 | |
Why is it a magical door? | 0:05:52 | 0:05:53 | |
Because as she steps through it, her scarf's no longer round her neck. | 0:05:53 | 0:05:59 | |
It's like a very low rent Mr Benn. | 0:05:59 | 0:06:02 | |
The Fighter is so full of clangers, it makes me want to hurt someone. | 0:06:06 | 0:06:11 | |
Not Marky Mark obviously, he's a bit tough. | 0:06:11 | 0:06:15 | |
And not Bale, the lunatic! | 0:06:15 | 0:06:17 | |
But Rock 'Em Sock 'Em Robots would help vent my frustrations. | 0:06:19 | 0:06:22 | |
It's good, Dick. I'm just trying to figure out what's best for me. | 0:06:22 | 0:06:26 | |
Where have they gone? I wasn't going to break them. | 0:06:28 | 0:06:32 | |
I'm sorry, I don't know who you are or why you're taking. | 0:06:32 | 0:06:36 | |
Oh, back now. Well, if you're going to be like that, I don't want them. | 0:06:36 | 0:06:39 | |
We're together. Do we need to do this again? Hi, I'm Charlene. | 0:06:39 | 0:06:42 | |
In the emotional King's Speech, | 0:06:44 | 0:06:47 | |
the Monarch struggles with a speech impediment. | 0:06:47 | 0:06:50 | |
However, his missus Queen Bonham Carter has her own struggles. | 0:06:50 | 0:06:55 | |
Her veil keeps moving on its own accord. | 0:06:55 | 0:06:58 | |
First it's down... | 0:06:58 | 0:07:00 | |
Indentured servitude? | 0:07:00 | 0:07:02 | |
..then it's up... | 0:07:02 | 0:07:05 | |
Well, we need to have your hubby pop by. | 0:07:05 | 0:07:08 | |
-Tuesday would be good. -..then it's down. | 0:07:08 | 0:07:11 | |
They should make a film of that - The Queen's Manic Depressive Veil. | 0:07:11 | 0:07:15 | |
Greetings, bold traveller. Far have you journeyed in the search | 0:07:17 | 0:07:20 | |
of mistakes from the realm of fantasy films and weary must ye be, | 0:07:20 | 0:07:23 | |
but finally ye shall be rewarded with what ye seek. | 0:07:23 | 0:07:27 | |
First I will need drop of monk's wood from the vial of crisal wood | 0:07:27 | 0:07:31 | |
to unlock the spell... Oh, stop this. Just play the clips. | 0:07:31 | 0:07:33 | |
Here are the fantasy film mistakes. Yeah. No, over there. | 0:07:33 | 0:07:39 | |
Over to Narnia and the exciting and epic Voyage Of The Dawn Treader. | 0:07:42 | 0:07:45 | |
Look behind our brave explorers That door is firmly closed. How can they get in? | 0:07:45 | 0:07:52 | |
Oh, it's already open and now we HEAR it opening. | 0:07:53 | 0:07:57 | |
DOOR CREAKS OPEN | 0:07:57 | 0:07:58 | |
Narnia's a confusing place. What next, a talking lion? | 0:07:58 | 0:08:03 | |
What's your least favourite season? Autumn? Winter? | 0:08:06 | 0:08:11 | |
Mine is The Season Of The Witch. | 0:08:11 | 0:08:13 | |
That felt longer than both autumn and winter put together. | 0:08:13 | 0:08:17 | |
Now, look at the boy's sword. | 0:08:17 | 0:08:20 | |
Did you spot it? Let's see that again. | 0:08:20 | 0:08:23 | |
Perhaps you can be of service. | 0:08:23 | 0:08:26 | |
The sword swaps hands. Witchcraft, or maybe glitch craft? | 0:08:28 | 0:08:34 | |
The actors in this half-hearted and messy take on Red Riding Hood | 0:08:39 | 0:08:42 | |
must be a bit chilly. | 0:08:42 | 0:08:43 | |
It's clearly the middle of winter, | 0:08:43 | 0:08:45 | |
but everyone's wearing short-sleeved garments. | 0:08:45 | 0:08:48 | |
Rumours that this film was shot on a Saturday night out in Newcastle have yet to be confirmed. | 0:08:50 | 0:08:54 | |
Clint Eastwood's flawed fantasy Hereafter now, and in this scene, | 0:08:58 | 0:09:02 | |
an expert is telling us about the great Charles Dickens. | 0:09:02 | 0:09:05 | |
Over here on this wall we have several illustrations for The Mystery of Edward Drood... | 0:09:05 | 0:09:11 | |
Oh dear. I hate to be a know-it-all, | 0:09:11 | 0:09:14 | |
but I think you'll find it was The Mystery of EdWIN Drood, not EdWARD Drood. | 0:09:14 | 0:09:19 | |
To think I had such great expectations for this film. | 0:09:19 | 0:09:23 | |
This is the film Your Highness, | 0:09:27 | 0:09:29 | |
and this poor, helpless maiden is tied down so tightly she can barely move. | 0:09:29 | 0:09:34 | |
But at the end of the scene, she's able to sit up quite easily whilst still being tied down. | 0:09:37 | 0:09:42 | |
Your Highness, the film that hits an all-time lowness. | 0:09:42 | 0:09:47 | |
I always say the key to a successful double act is having two people... | 0:09:49 | 0:09:54 | |
From my experience, if you want to create a successful double act, | 0:09:54 | 0:09:57 | |
and you're not very cool, | 0:09:57 | 0:09:59 | |
find someone who is much less cool than you, | 0:09:59 | 0:10:01 | |
and then you'll be known as the cool one. | 0:10:01 | 0:10:04 | |
Some Hollywood double acts work so well together, it's hard to imagine one without the other. | 0:10:04 | 0:10:09 | |
Tom Hank and Meg Ryan, Brad and Angelina, | 0:10:09 | 0:10:11 | |
Lindsay Lohan and her parole officer. | 0:10:11 | 0:10:13 | |
But my favourite double act has got to be Superman and Clark Kent. | 0:10:13 | 0:10:18 | |
What? | 0:10:18 | 0:10:19 | |
How can they be the same person? They don't look anything alike. | 0:10:20 | 0:10:24 | |
He just wears glasses?! | 0:10:24 | 0:10:26 | |
That is so... So clever. | 0:10:26 | 0:10:29 | |
OK, then it's got to be Spiderman and Peter Parker. | 0:10:29 | 0:10:33 | |
The surprisingly dark Love And Other Drugs now, | 0:10:35 | 0:10:38 | |
and watch Anne Hathaway's arm. | 0:10:38 | 0:10:41 | |
It's under the pillow behind Jake Gyllenhaal's arm, | 0:10:41 | 0:10:44 | |
then it pops up before tucking itself back behind the pillow | 0:10:44 | 0:10:47 | |
like his arm's made of nothing. | 0:10:47 | 0:10:49 | |
Also, she's not pointing and laughing, | 0:10:49 | 0:10:52 | |
which in my experience is what women normally do after sex. Right? | 0:10:52 | 0:10:56 | |
Here's a scene from the goofy Dinner For Schmucks, | 0:10:58 | 0:11:01 | |
and just keep an eye on her ears. | 0:11:01 | 0:11:02 | |
He wants me to curate it. | 0:11:02 | 0:11:04 | |
Oh, my God! | 0:11:04 | 0:11:06 | |
She's lost her earrings! | 0:11:06 | 0:11:08 | |
You call a guy a douche and you get your first museum show out of it. | 0:11:08 | 0:11:11 | |
Now they're back. | 0:11:11 | 0:11:12 | |
I love you so much. You're stunning, smart and awful with pronunciation. | 0:11:12 | 0:11:17 | |
Now they've gone again! | 0:11:17 | 0:11:18 | |
Apparently she's wearing a new type of jewellery. | 0:11:18 | 0:11:22 | |
Disappear-rings! | 0:11:22 | 0:11:24 | |
I love you. | 0:11:24 | 0:11:26 | |
Oh, my God. | 0:11:30 | 0:11:31 | |
Here, Steve Carrel wrestles Paul Rudd away from a lift. | 0:11:31 | 0:11:34 | |
I think we need to cool off... | 0:11:34 | 0:11:35 | |
Gosh, I hate when that happens. | 0:11:35 | 0:11:39 | |
Look, he's grabbing him by the arm. | 0:11:39 | 0:11:42 | |
He's got his arm. | 0:11:42 | 0:11:43 | |
And then suddenly... it's his right leg! | 0:11:43 | 0:11:47 | |
What a joke. | 0:11:47 | 0:11:49 | |
Paul Rudd's not the only one having his leg pulled around here. | 0:11:49 | 0:11:53 | |
THEY GRUNT AND MOAN | 0:11:53 | 0:11:55 | |
You are welcome. | 0:11:55 | 0:11:57 | |
In this bit, Steve Carrel changes his specs | 0:12:02 | 0:12:05 | |
so he can dress a mouse for its impending marriage. | 0:12:05 | 0:12:08 | |
Nice cameo by Stuart Little. | 0:12:14 | 0:12:17 | |
But when he removes the magnifying glasses... | 0:12:19 | 0:12:22 | |
Oops, his normal glasses are still on. | 0:12:22 | 0:12:25 | |
What a mouse-stake to make. | 0:12:25 | 0:12:27 | |
At the schmucks' dinner itself, | 0:12:30 | 0:12:33 | |
watch out for the lady in the purple dress, | 0:12:33 | 0:12:36 | |
who's in two places at once. | 0:12:36 | 0:12:38 | |
Here she is. | 0:12:42 | 0:12:43 | |
And now she's over here too. | 0:12:43 | 0:12:46 | |
Incredible! At least she can pass herself the salt. | 0:12:46 | 0:12:49 | |
Here, Steve plays such a schmuck that he walks straight into a pond | 0:12:56 | 0:13:00 | |
and gets his trousers wet. | 0:13:00 | 0:13:04 | |
But hang on. | 0:13:04 | 0:13:05 | |
They're already wet before he goes in, from a previous take. | 0:13:05 | 0:13:09 | |
When they said this comedy was pant-wetting, | 0:13:09 | 0:13:12 | |
I thought they meant it was funny! | 0:13:12 | 0:13:14 | |
Oh, the usual scene. | 0:13:16 | 0:13:19 | |
A man asleep in the bath with his hand down the toilet. | 0:13:19 | 0:13:22 | |
This is the predictable Just Go With It, | 0:13:22 | 0:13:25 | |
which was the editor probably said when he saw that the toilet seat | 0:13:25 | 0:13:28 | |
was down instead of up in the next shot. | 0:13:28 | 0:13:31 | |
Just go with it. No-one will notice. | 0:13:35 | 0:13:37 | |
I mean, that kid's not noticed, and he's sat on a man's hand. | 0:13:39 | 0:13:43 | |
Jennifer Aniston and Adam Sandler play plastic surgeons, | 0:13:45 | 0:13:49 | |
but maybe it's their movie that needs corrective surgery. | 0:13:49 | 0:13:52 | |
I think that's enough. Do you feel that? | 0:13:52 | 0:13:55 | |
No. | 0:13:55 | 0:13:56 | |
One moment Sandler is wearing rubber gloves, and then suddenly... | 0:13:56 | 0:14:00 | |
..they've gone! | 0:14:00 | 0:14:02 | |
That bra is the perfect size, Sandler, | 0:14:02 | 0:14:05 | |
Cos you've just made one massive boob. | 0:14:05 | 0:14:07 | |
Film animals are intensively-trained creatures | 0:14:10 | 0:14:14 | |
who behave exactly the way the director wants them to. | 0:14:14 | 0:14:17 | |
-But sometimes corners are cut. -The pig is tasting my body! | 0:14:17 | 0:14:20 | |
No, he's not. | 0:14:20 | 0:14:21 | |
He should be saying, "The pig is eating the food | 0:14:21 | 0:14:24 | |
"that I've smeared all over my back to attract it." | 0:14:24 | 0:14:27 | |
The pig's the one who's least at fault. | 0:14:27 | 0:14:30 | |
The pig is tasting my body! | 0:14:30 | 0:14:32 | |
Action films now. None of your namby-pamby romance or any of that girly stuff. | 0:14:34 | 0:14:39 | |
Films for blokes, full of explosions and fights and guns. | 0:14:39 | 0:14:42 | |
Films for real men. Real men like me! | 0:14:42 | 0:14:45 | |
Are you talking to me?! Are you talking to me?! | 0:14:45 | 0:14:49 | |
Oh, you are talking to me. | 0:14:49 | 0:14:51 | |
What... We can't have the gun. Health and safety. Oh, OK. | 0:14:51 | 0:14:54 | |
GUN FIRES | 0:14:54 | 0:14:57 | |
And talking of being sorry, | 0:14:57 | 0:14:58 | |
I got kicked out of my local cinema the other week | 0:14:58 | 0:15:00 | |
after I went up to the lady at the ticket kiosk and told her I was looking for a bit of action. | 0:15:00 | 0:15:05 | |
I only wanted a ticket to see the new Jason Statham film. | 0:15:05 | 0:15:08 | |
Well, that's what I told the police anyway. | 0:15:08 | 0:15:11 | |
Nice vest. | 0:15:13 | 0:15:15 | |
It's the ridiculous The Expendables, | 0:15:15 | 0:15:17 | |
where the most expendable thing is that vest. | 0:15:17 | 0:15:20 | |
Sly got on board wearing it... | 0:15:22 | 0:15:24 | |
Now it's off. | 0:15:24 | 0:15:27 | |
He hangs up his guns... | 0:15:28 | 0:15:30 | |
And it's on again. | 0:15:32 | 0:15:34 | |
And then it isn't. | 0:15:35 | 0:15:37 | |
I haven't seen this much vest removal since Take That at Wembley in 1995. | 0:15:37 | 0:15:42 | |
Cockney legend Statham starting some aggro with some sweaty crims. | 0:15:44 | 0:15:50 | |
Here he is pokin' along on his bike in his levver jacket and 'elmet. | 0:15:50 | 0:15:55 | |
That'll take a while to take off. | 0:15:55 | 0:15:57 | |
But in an instant his trouble and strife is strolling away wiv his gear. | 0:15:59 | 0:16:04 | |
Would you Adam and Eve it? | 0:16:04 | 0:16:06 | |
A horrible scene of torture from The Expendables, | 0:16:11 | 0:16:14 | |
but not as horrible as this goof. | 0:16:14 | 0:16:16 | |
SHE SCREAMS | 0:16:18 | 0:16:19 | |
MAN SPEAKS IN SPANISH | 0:16:19 | 0:16:21 | |
She gives a defiant kick to her captors... | 0:16:21 | 0:16:24 | |
THEY SPEAK IN SPANISH | 0:16:25 | 0:16:28 | |
However, when she falls, you can see that her legs are tied together. | 0:16:28 | 0:16:32 | |
Maybe the director was too tied up to notice this. Thanks again. Thanks. | 0:16:32 | 0:16:37 | |
Here's Angelina Jolie as Salt in the far-fetched Salt. | 0:16:39 | 0:16:44 | |
Now, too much salt is bad for you, so let's keep this short. | 0:16:44 | 0:16:49 | |
Here she's brought along an ashtray and a packet of fags. | 0:16:49 | 0:16:52 | |
What about your insides, Salt? | 0:16:52 | 0:16:54 | |
-I need to get to the phone. -No, no, no. | 0:16:54 | 0:16:56 | |
Someone should really hide them. Oh, they have! | 0:16:56 | 0:16:59 | |
But you can't fool Salt. She finds them again. | 0:16:59 | 0:17:03 | |
Her IQ is as high as her blood pressure. | 0:17:03 | 0:17:06 | |
Looks like Salt's about to get on a bouncy castle. | 0:17:08 | 0:17:11 | |
She knows the rules. No shoes. | 0:17:11 | 0:17:14 | |
That's right. Put them neatly behind you. | 0:17:14 | 0:17:16 | |
But in the CCTV shot, they're scattered all over the place. | 0:17:16 | 0:17:22 | |
No party bag for you! | 0:17:22 | 0:17:24 | |
In this climactic scene, Salt... Spoiler alert! | 0:17:28 | 0:17:32 | |
..kills the Russian president. | 0:17:32 | 0:17:34 | |
And speaking of spoiling things, take a look at the dead pres. | 0:17:34 | 0:17:38 | |
We need a medical crew down in the crypt. | 0:17:38 | 0:17:40 | |
No need to look for a pulse. His eyes can tell you he's totally fine. | 0:17:40 | 0:17:44 | |
They say dead men don't talk, but apparently they do blink. | 0:17:47 | 0:17:51 | |
Now, this is the melodramatic Sanctum, | 0:17:54 | 0:17:57 | |
and you'll need to watch very carefully. | 0:17:57 | 0:18:00 | |
Something the director failed to do when they picked a stuntman. | 0:18:02 | 0:18:06 | |
Look, a watch in this shot and no watch during the stunt. | 0:18:06 | 0:18:10 | |
I wouldn't give this movie the time of day. | 0:18:12 | 0:18:16 | |
And that's it. Until next time, byeee! | 0:18:18 | 0:18:21 | |
Subtitles by Red Bee Media | 0:18:34 | 0:18:37 | |
Email [email protected] | 0:18:37 | 0:18:40 |