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The name's Webb, Robert Webb, and I've got a licence 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? | 0:01:48 | 0:01:50 | |
It seems that, nowadays, people can't just let a good thing happen | 0:01:50 | 0:01:53 | |
without exploiting it over and over again, | 0:01:53 | 0:01:55 | |
repeating the same tired formula until there's nothing original left. | 0:01:55 | 0:01:59 | |
At least that's what we think here at Movie Mistakes...Three. | 0:01:59 | 0:02:03 | |
Statistically, sequels gross more at the box office | 0:02:03 | 0:02:06 | |
than the first film in a series, so do prequels. | 0:02:06 | 0:02:09 | |
So I've come up with a plan, make the second film first, | 0:02:09 | 0:02:12 | |
then do the first film second, but because you've made the second film | 0:02:12 | 0:02:16 | |
first, the second film, which is in fact the first film, | 0:02:16 | 0:02:19 | |
will technically be a prequel. Ker-ching! | 0:02:19 | 0:02:22 | |
The best thing about sequels is that they get to have subtitles. | 0:02:22 | 0:02:26 | |
Terminator 2, Judgement Day, Babe 2 - Pig In The City, | 0:02:26 | 0:02:29 | |
Garfield 2 - Who Allowed This To Get Made. | 0:02:29 | 0:02:32 | |
The foreboding and climactic Harry Potter And The Deathly Hallows. | 0:02:35 | 0:02:38 | |
Here, the charmingly named Mundungus knocks over a stack of newspapers. | 0:02:38 | 0:02:43 | |
Listen, I panicked... | 0:02:43 | 0:02:45 | |
Daily Prophets everywhere. | 0:02:45 | 0:02:46 | |
But, perhaps a special cleaning spell is used as, later on, | 0:02:48 | 0:02:51 | |
we see the papers are neatly stacked again. | 0:02:51 | 0:02:54 | |
Abracadabra? Abraca-bad-ra. | 0:02:54 | 0:02:58 | |
Harry Potter critics say it became a little repetitive towards the end. | 0:03:01 | 0:03:06 | |
-I think that's a bit unfair. -They're after you, mate. | 0:03:06 | 0:03:08 | |
Oh, hang on, that waitress covers the same piece of ground twice. | 0:03:08 | 0:03:12 | |
What about all the people at the wedding? | 0:03:12 | 0:03:14 | |
There she goes... | 0:03:14 | 0:03:15 | |
and there she goes again. | 0:03:15 | 0:03:17 | |
Maybe they had a point after all. | 0:03:17 | 0:03:20 | |
Helena Bonham Carter straddling Emma Watson is a sight to get any | 0:03:22 | 0:03:27 | |
Harry Potter fan-boy hot and bothered, but not like that. | 0:03:27 | 0:03:31 | |
I'm talking about this massive movie clunker. | 0:03:31 | 0:03:33 | |
SHE SCREAMS | 0:03:33 | 0:03:36 | |
She goes to carve into her right arm, | 0:03:39 | 0:03:41 | |
then, suddenly, she's attacking her left. | 0:03:41 | 0:03:44 | |
It's awful. There's not even any mud for them to fight in. | 0:03:45 | 0:03:49 | |
Ah, pirates - making alcoholism fun! | 0:03:51 | 0:03:54 | |
It's the boisterous Pirates Of The Caribbean 4. | 0:03:54 | 0:03:57 | |
And, as Geoffrey Rush tilts his hollow leg high to get a drink, | 0:03:59 | 0:04:02 | |
Jack Sparrow wants a taste. | 0:04:02 | 0:04:04 | |
I want one of those. | 0:04:04 | 0:04:06 | |
Sadly, his hands are tied and could never tilt the leg high enough. | 0:04:06 | 0:04:11 | |
Here's to revenge - sweet and clear. | 0:04:11 | 0:04:14 | |
Revenge. | 0:04:15 | 0:04:16 | |
How'd he do that? | 0:04:16 | 0:04:17 | |
Come, Hector. | 0:04:17 | 0:04:19 | |
It's the flaccid Little Fockers | 0:04:21 | 0:04:23 | |
and here's Jessica Alba dropping off Ben Stiller in a lovely | 0:04:23 | 0:04:27 | |
car with black seats. | 0:04:27 | 0:04:28 | |
-Are you sure you're going to be OK? -Yeah. | 0:04:29 | 0:04:32 | |
Well, it's not him you should worry about, it's your car | 0:04:32 | 0:04:35 | |
because overnight...the seats have turned white. | 0:04:35 | 0:04:38 | |
You OK? | 0:04:38 | 0:04:39 | |
Following the example of Dustin Hoffman's hair. | 0:04:39 | 0:04:42 | |
Oh, it's the atmospheric Paranormal Activity 2. | 0:04:45 | 0:04:49 | |
BANG | 0:04:49 | 0:04:50 | |
And there's some spooky goings-on in this household. | 0:04:50 | 0:04:53 | |
Oh, keep an eye on the pots and pans hanging from the rack. | 0:04:54 | 0:04:57 | |
That's enough. | 0:04:57 | 0:04:58 | |
Oooh, they keep changing colour and shape. | 0:04:59 | 0:05:02 | |
A poltergeist or cock-up? | 0:05:04 | 0:05:06 | |
You decide. | 0:05:06 | 0:05:08 | |
Adrenaline-pumping Fast Five now, and when robbing a bank, | 0:05:10 | 0:05:13 | |
attention to detail really counts. | 0:05:13 | 0:05:16 | |
Here the safe's unlocked with a right-hand print. | 0:05:16 | 0:05:19 | |
Young Mia then goes to extreme measures, | 0:05:25 | 0:05:28 | |
grabbing his print on her bikini. | 0:05:28 | 0:05:29 | |
But it's the left hand. | 0:05:32 | 0:05:34 | |
That shouldn't work, then. Caught you red-handed AND red-faced! | 0:05:34 | 0:05:38 | |
So did he just slap that BLEEP or did he grab and hold on to it? | 0:05:38 | 0:05:43 | |
You know, it takes so much time and money | 0:05:45 | 0:05:48 | |
to CGI those robots in Transformers, | 0:05:48 | 0:05:50 | |
I'd just not bother putting them in every shot. | 0:05:50 | 0:05:54 | |
I mean, who's going to notice? | 0:05:54 | 0:05:56 | |
Unfortunately, we are! | 0:05:56 | 0:05:58 | |
Keep an eye on this character, Brains, who transforms into | 0:05:58 | 0:06:02 | |
thin air! | 0:06:02 | 0:06:03 | |
Shame this film can't transform into a good one. | 0:06:03 | 0:06:06 | |
That's what you love about me. | 0:06:06 | 0:06:08 | |
You've got some BLEEP. | 0:06:10 | 0:06:12 | |
It's annoying when there's loads of action going on. | 0:06:12 | 0:06:15 | |
There's never time to shave, is there, Shia LaBeouf? | 0:06:15 | 0:06:17 | |
Especially when you're getting attacked by a flying robot. | 0:06:21 | 0:06:25 | |
No! | 0:06:27 | 0:06:29 | |
But, wait a second, he hasn't, has he? | 0:06:29 | 0:06:33 | |
From Shia LaBeouf to sheered LaBeouf. | 0:06:33 | 0:06:37 | |
You think you're a hero... | 0:06:39 | 0:06:41 | |
It's near the end of Transformers and time is tight. | 0:06:41 | 0:06:44 | |
Who's the messenger? | 0:06:44 | 0:06:45 | |
But look at this clock, it's got a mind of its own. | 0:06:45 | 0:06:48 | |
Starting at 2:20. | 0:06:48 | 0:06:50 | |
It jumps back to 12:15... | 0:06:54 | 0:06:57 | |
..and then back further to 11 o'clock. | 0:06:59 | 0:07:02 | |
It's like Back To The Future, but with robots | 0:07:02 | 0:07:05 | |
and without Michael J Fox. | 0:07:05 | 0:07:07 | |
Actually, forget it, it's nothing like Back To The Future. | 0:07:07 | 0:07:10 | |
Last clip from Transformers and lucky old sheered LaBeouf is getting | 0:07:12 | 0:07:16 | |
a snog from his latest supermodel girlfriend. | 0:07:16 | 0:07:20 | |
But take a look at her mucky paws. | 0:07:20 | 0:07:22 | |
I'm going to hold you to that. | 0:07:22 | 0:07:24 | |
They keep changing from clean and over his shoulders, | 0:07:24 | 0:07:27 | |
to dirty and on his face. | 0:07:27 | 0:07:29 | |
The most popular genre of the moment seems to be the superheroes. | 0:07:34 | 0:07:38 | |
Spider-Man, Superman, Natalie Port-man, X-Men, that's another one. | 0:07:38 | 0:07:42 | |
I've always found their name confusing. | 0:07:42 | 0:07:45 | |
X-Men, they're ex-men. So they're women. | 0:07:45 | 0:07:48 | |
If that's the case, I suppose that explains | 0:07:48 | 0:07:51 | |
why I fancy Wolverine so very much. | 0:07:51 | 0:07:53 | |
Everyone is quick to talk about superheroes, but no-one | 0:07:53 | 0:07:56 | |
is interested in the real-life heroes. | 0:07:56 | 0:07:58 | |
For me, my hero in life has always been my old English teacher. | 0:07:58 | 0:08:01 | |
He was caring and passionate, a real inspiration to all he taught | 0:08:01 | 0:08:05 | |
and by night, he donned a mask and cape | 0:08:05 | 0:08:07 | |
and went out and fought criminals. | 0:08:07 | 0:08:09 | |
I'll never forget you, Mr Batman. | 0:08:09 | 0:08:12 | |
Now it's time for breakneck action hit X-Men First Class. | 0:08:14 | 0:08:18 | |
But that isn't a history class, | 0:08:18 | 0:08:21 | |
as while they may be flashing back to 1944... | 0:08:21 | 0:08:25 | |
that photo of Einstein was taken in 1947. | 0:08:25 | 0:08:29 | |
Class dismissed. | 0:08:30 | 0:08:32 | |
Here's James McAvoy as superhero Professor Xavier. | 0:08:36 | 0:08:39 | |
But every superhero has his weakness and for Xavier, it's windows. | 0:08:39 | 0:08:43 | |
See that? | 0:08:45 | 0:08:46 | |
I read the teleporter's mind. | 0:08:47 | 0:08:48 | |
Ouch! He bangs his head against the glass. | 0:08:48 | 0:08:52 | |
Curse you, window, I'll get you next time! | 0:08:52 | 0:08:53 | |
I read the teleporter's mind. | 0:08:53 | 0:08:55 | |
Now, James is rightly thinking twice | 0:08:57 | 0:09:00 | |
about shooting his mate in the head. | 0:09:00 | 0:09:02 | |
But look at the distance the gun is from his head, | 0:09:02 | 0:09:05 | |
it changes with every shot. | 0:09:05 | 0:09:07 | |
That's every shot of the camera, not of the gun, thankfully. | 0:09:07 | 0:09:11 | |
No, I can't. | 0:09:11 | 0:09:12 | |
Now have the animators made an error here? Look at Emma Frost - | 0:09:14 | 0:09:17 | |
she's the one that's a woman. | 0:09:17 | 0:09:20 | |
When she changes from diamonds back to human | 0:09:20 | 0:09:23 | |
her hair style changes. | 0:09:23 | 0:09:25 | |
Here it's loose. | 0:09:27 | 0:09:28 | |
Now tied back. | 0:09:28 | 0:09:29 | |
We don't harm our own kind. | 0:09:29 | 0:09:31 | |
With her hair in that state, she must have been made from uncut diamonds. | 0:09:31 | 0:09:35 | |
On to the let down that was Green Lantern | 0:09:37 | 0:09:40 | |
and this guy is ecstatic because all day, he's been trying to keep | 0:09:40 | 0:09:43 | |
his slippery headphones on his head and now he's finally made them... | 0:09:43 | 0:09:47 | |
Oh. Oh, well. Back to the drawing board. | 0:09:47 | 0:09:50 | |
Take a look at Ryan Reynolds' brown eyes. | 0:09:54 | 0:09:57 | |
You know, you can't be a pilot if you're colour blind. | 0:09:57 | 0:09:59 | |
Maybe they should have the same rule for casting directors because, | 0:10:01 | 0:10:04 | |
according to this film, when he was younger, he had blue eyes. | 0:10:04 | 0:10:09 | |
It's Ken Branagh's smart take on Thor. | 0:10:12 | 0:10:14 | |
But where's the cock-up? | 0:10:14 | 0:10:16 | |
As Dylan says, the answer, my friend, is blowing in the wind. | 0:10:17 | 0:10:21 | |
Look at that stiff breeze blowing their hair across their faces... | 0:10:23 | 0:10:27 | |
that suddenly disappears... and it returns. | 0:10:27 | 0:10:31 | |
Misquoting Dylan again, let's hope, at that height, they're not sitting on the eaves of destruction. | 0:10:31 | 0:10:37 | |
I try, I fail. | 0:10:37 | 0:10:39 | |
I'm going to get everything back. | 0:10:39 | 0:10:41 | |
In this scene, it's tipping it down with rain | 0:10:44 | 0:10:47 | |
and everyone's getting soaking wet. | 0:10:47 | 0:10:50 | |
Apart from the guy from The Hurt Locker, | 0:10:51 | 0:10:53 | |
who keeps a dry face at all times. | 0:10:53 | 0:10:56 | |
With that condition, he must get through a hell of a lot of Nivea. | 0:10:57 | 0:11:01 | |
Thor, again, and an exciting moment where a coffee spills over. | 0:11:03 | 0:11:08 | |
But there's no use crying over it because, | 0:11:12 | 0:11:14 | |
in just a matter of seconds, it goes from being knocked over | 0:11:14 | 0:11:18 | |
to upright again. | 0:11:18 | 0:11:20 | |
Better latte than never. | 0:11:21 | 0:11:23 | |
In my opinion, a good movie always leaves you asking questions. | 0:11:25 | 0:11:29 | |
Who was Keyser Soze? | 0:11:29 | 0:11:31 | |
How did Nice Guy Eddie get shot? And, dude, where is my car? | 0:11:31 | 0:11:34 | |
But this selection of clunkers is so terrible, it will leave you | 0:11:34 | 0:11:39 | |
asking only one question. What were they thinking? | 0:11:39 | 0:11:42 | |
Very geeky comedy with the film Paul, now, | 0:11:44 | 0:11:47 | |
and the invisible alien looks at Nick Frost's passport. | 0:11:47 | 0:11:50 | |
But it should say British citizen and not British subject. | 0:11:53 | 0:11:56 | |
Could be worse, it could be French subject. | 0:11:56 | 0:11:59 | |
That was always my least favourite subject. | 0:11:59 | 0:12:01 | |
He's from another world. | 0:12:04 | 0:12:06 | |
Take a look at the green oven mitt on the wall. | 0:12:06 | 0:12:08 | |
It's about to disappear. | 0:12:08 | 0:12:10 | |
If it makes you feel any better, my existence... | 0:12:10 | 0:12:12 | |
There it goes. | 0:12:12 | 0:12:14 | |
That's the thing about sci-fi films, I mean, the rule book is thrown | 0:12:14 | 0:12:17 | |
out of the window. | 0:12:17 | 0:12:18 | |
# Amazing grace... # | 0:12:18 | 0:12:20 | |
In fact, I bet they did it on purpose. | 0:12:20 | 0:12:22 | |
I bet it represents something like, you know, us, | 0:12:22 | 0:12:26 | |
like, are we really here or are we just... | 0:12:26 | 0:12:28 | |
Oh, yeah. | 0:12:28 | 0:12:30 | |
Oh, never mind, it's back. | 0:12:30 | 0:12:31 | |
Turns out it just represents a mistake they made. | 0:12:31 | 0:12:34 | |
And now fireworks. Remember the code... | 0:12:36 | 0:12:39 | |
That'll put us behind the tree line... | 0:12:39 | 0:12:41 | |
..light them at an arm's length... | 0:12:41 | 0:12:43 | |
Hey! Watch the fuse! | 0:12:43 | 0:12:44 | |
..stand well back... | 0:12:44 | 0:12:45 | |
That's not funny. | 0:12:45 | 0:12:46 | |
..and take your head torch off twice. | 0:12:46 | 0:12:48 | |
Arrh. Boom! | 0:12:48 | 0:12:51 | |
But watch Pegg's head torch. He just lets it vanish. | 0:12:57 | 0:13:00 | |
He's no responsible adult. | 0:13:02 | 0:13:04 | |
Pretentious arty action in Hanna. | 0:13:08 | 0:13:11 | |
Here, Cate Blanchett runs up a flight of stairs in comfy shoes, | 0:13:11 | 0:13:15 | |
dropping her monkey head along the way. | 0:13:15 | 0:13:17 | |
No time to worry about simian head gear, there's a child to chase. | 0:13:18 | 0:13:21 | |
But, apparently, plenty of time to change shoes. | 0:13:27 | 0:13:30 | |
Let's see that again. | 0:13:30 | 0:13:32 | |
Before you can say, "Here come the girls," she's in boots! | 0:13:35 | 0:13:38 | |
Here's Hanna herself and I know what you're thinking, | 0:13:42 | 0:13:46 | |
Hanna was brought up as a trained assassin in isolation | 0:13:46 | 0:13:49 | |
near the Arctic Circle, so how come she's got pierced ears? | 0:13:49 | 0:13:52 | |
This movie has more holes than Hanna's lobes. | 0:13:53 | 0:13:56 | |
Hanna's having a face-to-face chat with her friend Sophie, | 0:13:59 | 0:14:03 | |
lying on her left-hand side. | 0:14:03 | 0:14:05 | |
And here's Sophie who, for some reason, | 0:14:05 | 0:14:07 | |
appears to be also lying on her left side. | 0:14:07 | 0:14:09 | |
So, how are they face to face? | 0:14:11 | 0:14:13 | |
I like you. | 0:14:13 | 0:14:14 | |
Look me in the eye and answer me! | 0:14:14 | 0:14:16 | |
I'd like to have a friend. | 0:14:17 | 0:14:19 | |
In the soppy Just Wright, | 0:14:23 | 0:14:25 | |
Scott walks Leslie over to a covered object shaped very much like a car. | 0:14:25 | 0:14:30 | |
She asks what it is and he reveals, to her great surprise... | 0:14:30 | 0:14:33 | |
that it's a car. | 0:14:33 | 0:14:34 | |
No, you didn't! | 0:14:34 | 0:14:37 | |
But keep your eye on the antenna. | 0:14:37 | 0:14:39 | |
It's visible even though the car's covered | 0:14:39 | 0:14:41 | |
and doesn't move with the fabric. | 0:14:41 | 0:14:44 | |
Just WRIGHT?! Just WRONG, more like! | 0:14:47 | 0:14:50 | |
ROBERT WEBB CHUCKLES | 0:14:50 | 0:14:52 | |
Here's the moribund Something Borrowed. | 0:14:54 | 0:14:56 | |
Keep an eye on the girl on the far left fast asleep. | 0:14:56 | 0:15:00 | |
Now she's wide awake and catching up on the latest gossip in Grazia. | 0:15:02 | 0:15:07 | |
Can't have been a very interesting article because, look, | 0:15:07 | 0:15:08 | |
sleeping on the job again. A bit like the continuity editor. | 0:15:08 | 0:15:14 | |
Onto the tongue-in-cheek Red now and here's lovely Helen Mirren | 0:15:16 | 0:15:19 | |
looking glamorous, | 0:15:19 | 0:15:20 | |
but then she could make a cheap plastic watch look glamorous. | 0:15:20 | 0:15:24 | |
Which must be exactly what she's done | 0:15:24 | 0:15:27 | |
as while the necklace sets off the metal detector, | 0:15:27 | 0:15:32 | |
the watch doesn't. | 0:15:32 | 0:15:33 | |
Still with Red and here, | 0:15:37 | 0:15:38 | |
Bruce Willis gets a little help with his handcuffs. | 0:15:38 | 0:15:41 | |
He's handed a key, but wait a second, | 0:15:41 | 0:15:45 | |
the handcuffs aren't even locked. | 0:15:45 | 0:15:47 | |
How much help do you need, Bruce? | 0:15:49 | 0:15:51 | |
Do you want him to tie your shoelaces while he's at it? | 0:15:51 | 0:15:54 | |
Next up, we're looking at teen movies, | 0:15:56 | 0:15:58 | |
which, for a man only recently out of his teens - that's right - is exactly my thing. | 0:15:58 | 0:16:02 | |
-MOBILE PHONE RINGS -They're cool, wicked and totally radical. Oh, excuse me. | 0:16:02 | 0:16:08 | |
Oh, hey, Dazza! Yeah? What's up, dude? | 0:16:08 | 0:16:11 | |
Yeah, I would love to come down the Rec and skateboard with you. | 0:16:11 | 0:16:14 | |
Hang on. Mum, I'm going down the Rec with Dazza. | 0:16:14 | 0:16:18 | |
-HIGH-PITCHED VOICE: -Not until you've finished hosting the show. | 0:16:18 | 0:16:21 | |
But, Mum! | 0:16:21 | 0:16:22 | |
-No buts. -I can't come out. See you tomoz. | 0:16:22 | 0:16:26 | |
Here are some classic goofs from teen films. | 0:16:28 | 0:16:32 | |
-Say it nicely! -Here are some classic goofs from teen films. | 0:16:32 | 0:16:36 | |
I saw that! | 0:16:38 | 0:16:39 | |
Next, in the light-hearted Easy A, Olive shows this boy what's what | 0:16:42 | 0:16:46 | |
by crushing an ice-cream cone in front of his face. | 0:16:46 | 0:16:50 | |
But the cone instantly reappears. Here today, cone tomorrow. | 0:16:50 | 0:16:55 | |
Now, watch Olive trying to take off her left boot | 0:16:59 | 0:17:01 | |
Is that lavender? It's pretty. | 0:17:01 | 0:17:04 | |
Which becomes her right boot, then she takes off her right boot again, | 0:17:04 | 0:17:08 | |
but somehow she's removed both her boots! | 0:17:08 | 0:17:12 | |
A clear example of two rights making a wrong. | 0:17:12 | 0:17:15 | |
In energetic Step Up 3D, it's the dance battle. | 0:17:18 | 0:17:22 | |
And as any B-boy knows, things get hot on the dance floor, | 0:17:22 | 0:17:26 | |
which is why the guy who's with those men pretending to be dogs | 0:17:26 | 0:17:29 | |
keeps taking his coat off. | 0:17:29 | 0:17:32 | |
Now you see it... | 0:17:33 | 0:17:35 | |
Now you don't. | 0:17:35 | 0:17:37 | |
Reminds me of my nan's 80th. That was a lively affair. | 0:17:37 | 0:17:40 | |
Another one from Step Up, and take a look at Moose's bag, | 0:17:43 | 0:17:47 | |
because it's only on in the shots from behind. | 0:17:47 | 0:17:51 | |
Yeah, I mean I... | 0:17:51 | 0:17:53 | |
I'm a double major. | 0:17:53 | 0:17:54 | |
Now, I know it's a backpack, | 0:17:54 | 0:17:55 | |
but you'd still see the strap on the front, right? | 0:17:55 | 0:17:58 | |
Yes? | 0:17:58 | 0:17:59 | |
What do you mean, you can't believe it? | 0:17:59 | 0:18:01 | |
It's Submarine, a reflective film about a son | 0:18:03 | 0:18:06 | |
trying to smooth out the creases in his parents' relationship. | 0:18:06 | 0:18:11 | |
And by the looks of things, | 0:18:12 | 0:18:14 | |
he's also smoothing out the creases in this drawing. | 0:18:14 | 0:18:18 | |
See? The fold's gone. | 0:18:18 | 0:18:20 | |
No need to set it on fire, though! | 0:18:20 | 0:18:23 | |
Oh! Kids! | 0:18:23 | 0:18:24 | |
Finally, a flashback scene in the worthless Twilight sequel, Eclipse. | 0:18:27 | 0:18:31 | |
Now, clothes in those days were made to last. | 0:18:31 | 0:18:36 | |
Look at that! | 0:18:36 | 0:18:38 | |
She stabs right through her dress and it doesn't even rip. | 0:18:38 | 0:18:41 | |
You don't get that kind of quality at Primark, do you? | 0:18:41 | 0:18:44 | |
Films get better with age, like so many things. | 0:18:46 | 0:18:50 | |
Wine, cheese, a good lover - | 0:18:50 | 0:18:52 | |
or at least that's what I tell my girlfriend. | 0:18:52 | 0:18:54 | |
She's 78 and needs a lot of confidence boosting, | 0:18:54 | 0:18:57 | |
so here are some slightly older clips | 0:18:57 | 0:19:00 | |
that we may have missed in the first two shows. | 0:19:00 | 0:19:02 | |
STATIC AND CLATTERING | 0:19:02 | 0:19:03 | |
Oh! She's had another fall. Excuse me! | 0:19:03 | 0:19:07 | |
Lovable musical Grease now, | 0:19:09 | 0:19:12 | |
and Vi demonstrates early voice control technology | 0:19:12 | 0:19:14 | |
as all it takes is for her to do a low grunt... | 0:19:14 | 0:19:18 | |
and the light goes out. | 0:19:18 | 0:19:21 | |
She certainly didn't flick the switch - look... | 0:19:21 | 0:19:24 | |
..her elbow is a good few inches away. | 0:19:26 | 0:19:29 | |
How's it done, Vi? | 0:19:29 | 0:19:30 | |
Enlighten us! | 0:19:30 | 0:19:32 | |
THEY ALL SING "SUMMER NIGHTS" | 0:19:34 | 0:19:38 | |
Ah, those crazy school days, when everyone could perform | 0:19:38 | 0:19:41 | |
a flawless, impromptu song-and-dance number! | 0:19:41 | 0:19:43 | |
Best years of my life! | 0:19:43 | 0:19:46 | |
Though Rizzo goes and ruins it by putting on some cool shades... | 0:19:46 | 0:19:51 | |
that instantly come off. | 0:19:51 | 0:19:53 | |
But it takes our eye off Travolta readjusting his tight trousers... | 0:19:55 | 0:19:58 | |
Oh, back on again. | 0:20:00 | 0:20:02 | |
Good diversion, Rizzo! | 0:20:02 | 0:20:04 | |
The colourful, camp classic The Wizard of Oz | 0:20:07 | 0:20:10 | |
and Dorothy's down the Yellow Brick Road in her iconic red shoes. | 0:20:10 | 0:20:15 | |
But she's a bit peckish... | 0:20:15 | 0:20:16 | |
The tree doesn't like this. | 0:20:16 | 0:20:18 | |
-Well, how would you like someone come and pinch something off of you? -Oh, dear! | 0:20:18 | 0:20:23 | |
Well- we find out, as someone's had it away with Dorothy's lovely shoes | 0:20:23 | 0:20:26 | |
and replaced them with dreary old dance shoes. | 0:20:26 | 0:20:30 | |
Look! | 0:20:30 | 0:20:31 | |
Hooray! I guess that did it. Help yourself. | 0:20:35 | 0:20:38 | |
Now as Dorothy chases the Tin Man, | 0:20:40 | 0:20:44 | |
see how the very important can of oil falls out of her basket. | 0:20:44 | 0:20:48 | |
Here it is. | 0:20:52 | 0:20:54 | |
Luckily with oil prices as they are, | 0:20:56 | 0:20:58 | |
it reappears intact so Tin Man can sort out his arthritic joints. | 0:20:58 | 0:21:02 | |
That was wonderful. | 0:21:02 | 0:21:04 | |
Well, OIL be damned! | 0:21:04 | 0:21:05 | |
The original and best Superman movie now, | 0:21:09 | 0:21:12 | |
and while you may believe a man can fly, he can also walk through glass. | 0:21:12 | 0:21:18 | |
Here, he's in a different door partition to Lois, | 0:21:18 | 0:21:21 | |
but when they come out, they leave from the same partition. | 0:21:21 | 0:21:25 | |
Also - rewind that... | 0:21:25 | 0:21:27 | |
Yep, a clear reflection of the cameraman. | 0:21:31 | 0:21:34 | |
Now I'll believe a man can spy. | 0:21:36 | 0:21:38 | |
Clark Kent is ever the polite gentleman, even when knocked out. | 0:21:42 | 0:21:48 | |
Did you see that? | 0:21:48 | 0:21:50 | |
See? He doffs his hat to his mugger as he runs away. | 0:21:51 | 0:21:56 | |
The final word in romantic comedies is Pretty Woman, | 0:22:00 | 0:22:04 | |
but I wish Julia Roberts would sort her manners out - | 0:22:04 | 0:22:08 | |
look, she's talking through a mouthful of croissant... | 0:22:08 | 0:22:11 | |
How far did you go in school? | 0:22:11 | 0:22:13 | |
Even more impolitely, she then changes it to a pancake! | 0:22:13 | 0:22:17 | |
Your folks must be proud. | 0:22:19 | 0:22:20 | |
And then takes a second bite out... | 0:22:20 | 0:22:22 | |
..which goes back on the pancake afterwards. | 0:22:24 | 0:22:27 | |
Disgraceful. | 0:22:27 | 0:22:28 | |
Ah, the epic and magical Sound of Music, | 0:22:32 | 0:22:35 | |
and look at the lovely scenery. | 0:22:35 | 0:22:37 | |
On such a beautiful, clear and sunny day | 0:22:37 | 0:22:40 | |
wouldn't you want to climb up an Alpine hillside, | 0:22:40 | 0:22:43 | |
take a deep breath of fresh air and just sing your guts out? | 0:22:43 | 0:22:47 | |
Come on, Julie, give us a burst! | 0:22:48 | 0:22:51 | |
Oh, it's suddenly gone all dull and cloudy. | 0:22:51 | 0:22:54 | |
I'd go back in, love. Film's over, everyone. | 0:22:54 | 0:22:58 | |
Thanks for watching Great Movie Mistakes. | 0:23:00 | 0:23:02 | |
I hope we haven't taken the shine off your favourite films this year. | 0:23:02 | 0:23:06 | |
If we have, then console yourself by remembering | 0:23:06 | 0:23:08 | |
that for all the little mistakes we've just pointed out, | 0:23:08 | 0:23:11 | |
there's hours and hours of movie footage | 0:23:11 | 0:23:13 | |
where they don't make any mistakes at all. | 0:23:13 | 0:23:15 | |
But if you want to watch them, you'd probably better download them illegally online. | 0:23:15 | 0:23:19 | |
-ALARM SOUNDS -Bye! | 0:23:19 | 0:23:20 | |
Subtitles by Red Bee Media Ltd | 0:23:29 | 0:23:32 |