Browse content similar to Episode 2. Check below for episodes and series from the same categories and more!
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Welcome to Great Movie Mistakes III. | 0:00:43 | 0:00:46 | |
That's right - we're a trilogy, | 0:00:46 | 0:00:48 | |
which hopefully means we'll get our own overpriced box sets, too. | 0:00:48 | 0:00:52 | |
I know what you're thinking - | 0:00:52 | 0:00:53 | |
the third part of a trilogy has a certain reputation. | 0:00:53 | 0:00:56 | |
Godfather III, Back To The Future III, Honey We Shrunk Ourselves. | 0:00:56 | 0:01:00 | |
They all have a reputation for being MY favourite part of the whole trilogy. | 0:01:00 | 0:01:05 | |
So, how have we made this instalment bigger, | 0:01:05 | 0:01:07 | |
better and more impressive than the other two? | 0:01:07 | 0:01:09 | |
Well, how does this sound? | 0:01:09 | 0:01:11 | |
CGI technology, car chases, romantic interests, | 0:01:11 | 0:01:14 | |
the bit where the building falls in on itself like in Inception. | 0:01:14 | 0:01:18 | |
Well, according to our producers, it sounds too expensive. | 0:01:18 | 0:01:21 | |
So, instead, we'll just stick to our perfectly OK formula | 0:01:21 | 0:01:24 | |
of reviewing all the movie mistakes we've spotted | 0:01:24 | 0:01:28 | |
from the top movies released since we last saw you. | 0:01:28 | 0:01:31 | |
For a shoot to be successful, the whole team, | 0:01:47 | 0:01:49 | |
including those behind the camera, have to be at the top of their game. | 0:01:49 | 0:01:52 | |
Every member of the crew has a vital part to play, and must never lose concentration. | 0:01:52 | 0:01:57 | |
For example, if the focus puller loses focus, | 0:01:57 | 0:01:59 | |
then there will be a loss of focus because the focus puller lost focus. | 0:01:59 | 0:02:03 | |
That's not a great example, but you know what I mean. | 0:02:03 | 0:02:06 | |
Everyone has an important job to do, from the soundman to the editor, | 0:02:06 | 0:02:10 | |
right down to the runner who brings the star his coffee. | 0:02:10 | 0:02:14 | |
Argh! What the hell?! I asked for a soy latte with an extra shot! | 0:02:14 | 0:02:18 | |
That didn't have an extra shot! What the hell were you thinking? | 0:02:18 | 0:02:21 | |
Sorry. | 0:02:21 | 0:02:23 | |
Here are some absolute clangers that happened purely because | 0:02:23 | 0:02:26 | |
the crew weren't paying enough attention. | 0:02:26 | 0:02:28 | |
Standing there crying isn't going to bring me the right coffee, is it? | 0:02:28 | 0:02:32 | |
Boo hoo hoo! Get him out of here. | 0:02:32 | 0:02:34 | |
Relentless action in The Tourist, | 0:02:37 | 0:02:39 | |
where Angelina, in France, imaginatively orders a croissant. | 0:02:39 | 0:02:42 | |
But, zut alors! She's actually been brought a pain au chocolat. | 0:02:50 | 0:02:54 | |
Look how angry she is! She's set fire to her menu! | 0:02:55 | 0:02:59 | |
Over in Venice now | 0:03:01 | 0:03:03 | |
and a handcuffed Johnny Depp is determined to earn his title | 0:03:03 | 0:03:06 | |
as The Tourist. | 0:03:06 | 0:03:07 | |
Look, he's going water skiing. | 0:03:09 | 0:03:12 | |
Rubbish, isn't he? | 0:03:12 | 0:03:13 | |
Oh, well, he's still handcuffed, so that'll restrict him. | 0:03:13 | 0:03:17 | |
Ah, apparently not. | 0:03:19 | 0:03:22 | |
He's pulling himself along quite easily there as if he's not handcuffed at all. | 0:03:22 | 0:03:27 | |
And if that's not enough, look! | 0:03:27 | 0:03:30 | |
There's a camera operator in the boat, too. | 0:03:32 | 0:03:36 | |
Phew, what a holiday this is turning out to be! | 0:03:36 | 0:03:38 | |
In Venice, they have taxi boats! Look, here's the taxi sign. | 0:03:40 | 0:03:45 | |
And as if having to get used to a boat that's also a taxi's not enough, | 0:03:46 | 0:03:50 | |
this taxi boat confuses us even more | 0:03:50 | 0:03:53 | |
by continuing to lose and then gain its taxi sign. | 0:03:53 | 0:03:57 | |
Here it's just a boat. | 0:03:58 | 0:04:00 | |
Now it's a taxi again. | 0:04:02 | 0:04:04 | |
Taxi for the editor? | 0:04:04 | 0:04:05 | |
I think so. | 0:04:05 | 0:04:07 | |
Agent Denise, Clifton Ward. | 0:04:07 | 0:04:09 | |
-You guys want anything? -Pretzels, all right? -Yeah. | 0:04:11 | 0:04:15 | |
It's the ice hockey! | 0:04:15 | 0:04:17 | |
But sadly, as this is The Dilemma, | 0:04:17 | 0:04:20 | |
we have to watch Vince Vaughan confront Winona Ryder about an alleged affair. | 0:04:20 | 0:04:24 | |
Boring! | 0:04:24 | 0:04:25 | |
Hey. | 0:04:25 | 0:04:27 | |
Well, at least the game's on the tellies, there. | 0:04:28 | 0:04:31 | |
But look closely and you see that the Chicago Blackhawks | 0:04:31 | 0:04:34 | |
are in different kit to the live game they were just playing. | 0:04:34 | 0:04:38 | |
What the puck?! | 0:04:38 | 0:04:39 | |
Vince Vaughan is back home empty handed. See? Nothing in his hands. | 0:04:43 | 0:04:48 | |
But his friends and family have arranged an intervention. | 0:04:48 | 0:04:51 | |
I guess we can start. | 0:04:51 | 0:04:54 | |
Ronnie, why don't you come join us? | 0:04:54 | 0:04:56 | |
They think he has a drink problem. Maybe they have a point. | 0:04:56 | 0:04:58 | |
Your family and friends are here because they love you, Ronald, | 0:04:58 | 0:05:02 | |
and they can't stand to see you destroy yourself any more. | 0:05:02 | 0:05:05 | |
Look! Next time we see his hands, a brown paper bag has appeared. | 0:05:05 | 0:05:09 | |
I bet it's full of booze. | 0:05:09 | 0:05:12 | |
It's violent crime flick Blitz, | 0:05:15 | 0:05:17 | |
and Jason Statham finds it hilarious | 0:05:17 | 0:05:19 | |
that the beer in his glass keeps changing levels. | 0:05:19 | 0:05:22 | |
Stop laughing, Jason, it's not big and it's not clever. | 0:05:27 | 0:05:31 | |
Though, I'd never say that to his face. | 0:05:31 | 0:05:34 | |
I just wanted to say, really quick, that... | 0:05:36 | 0:05:38 | |
Sure-fire comedy hit Bridesmaids, | 0:05:38 | 0:05:40 | |
and Annie's tipsy and making a toast. That's never good. | 0:05:40 | 0:05:42 | |
I'd get confused and speak into the champagne flute | 0:05:42 | 0:05:45 | |
while taking sips from the microphone. | 0:05:45 | 0:05:48 | |
..helped shape who I am. I just want to thank you. | 0:05:48 | 0:05:50 | |
Oh, it seems Annie was having the same thought. They've swapped over. | 0:05:50 | 0:05:54 | |
-All right, let's see what's next. Another one. -Yeah. | 0:05:56 | 0:06:00 | |
I know who this is from. | 0:06:00 | 0:06:02 | |
Take a look at Megan's right hand. | 0:06:02 | 0:06:04 | |
The poor little treasure's been injured all film. | 0:06:04 | 0:06:09 | |
She should never have to work again. | 0:06:09 | 0:06:10 | |
Very good time in high school. | 0:06:10 | 0:06:12 | |
Hold on, the support's on her left hand now. She's not injured at all. | 0:06:12 | 0:06:17 | |
Benefit cheat! | 0:06:17 | 0:06:18 | |
Burn her! | 0:06:18 | 0:06:20 | |
Science fiction. So much more popular | 0:06:22 | 0:06:25 | |
than its boring older brother, science fact. | 0:06:25 | 0:06:28 | |
My favourite type of sci-fi used to be films set in dystopian futures, | 0:06:28 | 0:06:31 | |
which portrayed a world dominated by technology, totalitarian governments | 0:06:31 | 0:06:35 | |
and the collapse of society as we know it. But nowadays, | 0:06:35 | 0:06:39 | |
I can get exactly the same thing just by watching the news. | 0:06:39 | 0:06:42 | |
The baffling Inception now. | 0:06:44 | 0:06:46 | |
I think this film's about the new sport extreme sleeping, | 0:06:46 | 0:06:49 | |
where people have to sleep through anything. | 0:06:49 | 0:06:53 | |
Here, they listen to boring music to drift away. | 0:06:53 | 0:06:57 | |
Ah, yes, the falling off the bridge event - very tricky - | 0:06:58 | 0:07:02 | |
especially if your headphones have come off. | 0:07:02 | 0:07:05 | |
What's he going to do now? | 0:07:05 | 0:07:07 | |
Without Coldplay's greatest hits playing, he'll surely wake up. | 0:07:07 | 0:07:10 | |
Oh, phew, they're back on. And he's ready to be plunged into the river. | 0:07:10 | 0:07:16 | |
In this clip, we see Cillian Murphy get shot once in the chest. | 0:07:18 | 0:07:22 | |
But when they come to help him, there are two bullet wounds. | 0:07:25 | 0:07:30 | |
Well, as the saying goes, shoot me once, shame on you. | 0:07:30 | 0:07:34 | |
Shoot me twice, shame on the continuity guy. | 0:07:34 | 0:07:37 | |
Next up, Battle: Los Angeles. A film that focuses too much on the action | 0:07:39 | 0:07:44 | |
and not enough on the dialogue. | 0:07:44 | 0:07:46 | |
Here, the soldiers prefer to bark rather than talk. | 0:07:46 | 0:07:50 | |
-HE SLURS: Right, we're up. -What's that, Lassie(?) | 0:07:50 | 0:07:52 | |
In this scene, the aliens are on the run and Aaron Eckhart is | 0:07:54 | 0:07:59 | |
trying to choose which gun goes best with his outfit. | 0:07:59 | 0:08:01 | |
Pistol? Yeah, pistol. | 0:08:04 | 0:08:06 | |
Or machine gun? No, pistol, gotta be pistol. | 0:08:08 | 0:08:12 | |
Taut, exciting thrills from Source Code now. | 0:08:16 | 0:08:19 | |
And this is Jake Can't-Pronounce-His-Last-Name | 0:08:19 | 0:08:22 | |
swiping a wallet to check out a driver's licence. | 0:08:22 | 0:08:26 | |
-You have the bomber's name? -Derek Frost. | 0:08:28 | 0:08:31 | |
Yes, that's the only thing he has, | 0:08:31 | 0:08:33 | |
because all the other details are completely different. | 0:08:33 | 0:08:36 | |
Look - address, date of birth, height. All of it! | 0:08:36 | 0:08:42 | |
Next up, the vile chiller Splice, and we see Adrian Brody doing... | 0:08:45 | 0:08:50 | |
-BELT RATTLES -Well, yeah, never mind that. | 0:08:50 | 0:08:53 | |
Watch Sarah Polley. Look, she's left the door open. | 0:08:53 | 0:08:57 | |
But then she opens the already-open door. | 0:08:58 | 0:09:01 | |
Nearly as strange as what Brody was up to. | 0:09:01 | 0:09:04 | |
Take a look at the Splice girl's dress. | 0:09:08 | 0:09:11 | |
Because, hanging upside down, you would imagine | 0:09:13 | 0:09:16 | |
it would fall down around her shoulders. | 0:09:16 | 0:09:19 | |
Sporty AND Scary Splice! | 0:09:22 | 0:09:25 | |
Films about true life next. | 0:09:30 | 0:09:32 | |
Films like 127 Hours, a true story of a man stuck in a canyon for days. | 0:09:32 | 0:09:38 | |
I got stuck on the M25 for what felt like 127 hours once. | 0:09:38 | 0:09:41 | |
I didn't chop off my own arm, did I? No, I did not! | 0:09:41 | 0:09:44 | |
I did, however, wee in a Coke bottle, | 0:09:44 | 0:09:47 | |
eat a family bag of Wotsits and openly cry, | 0:09:47 | 0:09:50 | |
but apparently, that story's not Hollywood material! | 0:09:50 | 0:09:54 | |
Tch! | 0:09:54 | 0:09:55 | |
It's super nerd Mark Zuckerberg, although he can't be that nerdy. | 0:09:57 | 0:10:02 | |
He's mates with Justin Timberlake. | 0:10:02 | 0:10:04 | |
Oh, good catch, Justin. | 0:10:04 | 0:10:06 | |
Sharon? | 0:10:07 | 0:10:08 | |
SMASH! | 0:10:08 | 0:10:10 | |
-Oh, no! -I'm so sorry! -Mark! | 0:10:10 | 0:10:12 | |
-Girls can't catch! -Here you go. -No, wait! | 0:10:12 | 0:10:15 | |
Luckily, it was one of those completely empty beer bottles | 0:10:16 | 0:10:19 | |
kept for situations like this. | 0:10:19 | 0:10:22 | |
-I'm so sorry. -Look, no stain on the wall. | 0:10:23 | 0:10:26 | |
Or maybe Zuckerberg's so rich, | 0:10:26 | 0:10:29 | |
he can afford beer that tidies up after itself. | 0:10:29 | 0:10:31 | |
Here's sweaty Christian Bale in the honest and hard-edged The Fighter. | 0:10:35 | 0:10:39 | |
Look at his T-shirt. Drenched! | 0:10:40 | 0:10:43 | |
But after a long walk in the sun, the sweat seems to have disappeared. | 0:10:46 | 0:10:50 | |
What's his antiperspirant? | 0:10:51 | 0:10:54 | |
Not one with 24-hour protection, as he's drenched again. | 0:10:56 | 0:10:59 | |
Look at Mark Wahlberg's fit bod as Micky Ward in The Fighter. | 0:11:02 | 0:11:07 | |
Not a tattoo in sight. | 0:11:07 | 0:11:08 | |
But cut to him in bed and what's this? | 0:11:08 | 0:11:12 | |
It's Mark's tat of Bob Marley, which Micky never had in real life. | 0:11:12 | 0:11:17 | |
Eddy Grant on the inner thigh, though? That's a possibility. | 0:11:17 | 0:11:21 | |
A young John Lennon with his nasal singing voice | 0:11:23 | 0:11:26 | |
in the unsentimental Nose-where Boy. | 0:11:26 | 0:11:29 | |
-Sorry, Nowhere Boy. -# You're my little girl! # | 0:11:29 | 0:11:33 | |
But when he stops singing, we see the tape is at the start of the reel | 0:11:33 | 0:11:37 | |
and the song couldn't have been recorded. | 0:11:37 | 0:11:39 | |
Which is lucky, as it sounded horrific. | 0:11:40 | 0:11:43 | |
We had great success... | 0:11:45 | 0:11:47 | |
A scene from the so-called documentary I'm Still Here | 0:11:47 | 0:11:51 | |
and look at the glasses hanging off the shirt of Joaquin Phoenix | 0:11:51 | 0:11:55 | |
or whatever he's called. | 0:11:55 | 0:11:57 | |
-Look, they've vanished. -I have a little studio, d'you know? | 0:11:57 | 0:12:01 | |
Puffy Combs, or whatever he's called, doesn't notice. | 0:12:01 | 0:12:04 | |
I'm excited to hear this stuff. I want to hear if you... | 0:12:04 | 0:12:07 | |
And now they're back. Mo sunglasses, mo problems. | 0:12:07 | 0:12:13 | |
More than seven square miles... | 0:12:15 | 0:12:16 | |
Harsh realities from Made In Dagenham now, | 0:12:16 | 0:12:20 | |
a British film harping back to the glorious era | 0:12:20 | 0:12:23 | |
where 55,000 men worked in a car factory with only 187 women. | 0:12:23 | 0:12:27 | |
That's because the men knew they were talking about back then. | 0:12:27 | 0:12:31 | |
-Are you threatening me? -Let's listen. | 0:12:31 | 0:12:33 | |
I'm trying to stop 40,000 people from losing their jobs, Mrs Castle. | 0:12:33 | 0:12:36 | |
That's how many people work as Ford employees in this country, not to mention... | 0:12:36 | 0:12:40 | |
I thought it was 55,000, you berk? Let the women take over, I say. | 0:12:40 | 0:12:45 | |
It's raining in Dagenham. | 0:12:48 | 0:12:51 | |
Look at that poor old guy outside with his brolly. | 0:12:51 | 0:12:53 | |
He can't wait to get inside in the dry. | 0:12:53 | 0:12:55 | |
I'm lucky you weren't getting the lads to hold out for a full house. | 0:12:55 | 0:12:59 | |
Get yourself home, man! | 0:12:59 | 0:13:01 | |
All over the country... | 0:13:01 | 0:13:02 | |
Later on and now he must be somewhere nice and warm. | 0:13:02 | 0:13:06 | |
Oh, no, no. There he is again. Maybe he likes the rain. | 0:13:06 | 0:13:09 | |
You'll always be fighting over the scraps on the top table... | 0:13:09 | 0:13:12 | |
And again. | 0:13:12 | 0:13:14 | |
Get equal pay, yeah. | 0:13:14 | 0:13:16 | |
And again. | 0:13:18 | 0:13:19 | |
He just can't get enough of it. Get inside, man, you'll catch your death! | 0:13:19 | 0:13:22 | |
What I don't get is why it's so important to you. | 0:13:22 | 0:13:26 | |
Compelling drama from Conviction and Kenny's been freed from jail, | 0:13:29 | 0:13:33 | |
but maybe he should be banged straight up again for crimes against continuity. | 0:13:33 | 0:13:37 | |
-His offences are many. No hat, your honour. -Will you thank your sister? | 0:13:37 | 0:13:41 | |
And now, a hat. | 0:13:41 | 0:13:44 | |
-Holding his scarf, your honour. -Is this for us? -Yes, it's for you. | 0:13:46 | 0:13:50 | |
And now suddenly wearing it again. The prosecution rests. | 0:13:50 | 0:13:55 | |
Next up, we're looking at teen movies, | 0:13:57 | 0:13:59 | |
which, for a man only recently out of his teens - that's right - is exactly my thing. | 0:13:59 | 0:14:03 | |
-MOBILE PHONE RINGS -They're cool, wicked and totally radical. Oh, excuse me. | 0:14:03 | 0:14:08 | |
Oh, hey, Dazza! Yeah? What's up, dude? | 0:14:08 | 0:14:11 | |
Yeah, I would love to come down the Rec and skateboard with you. | 0:14:11 | 0:14:15 | |
Hang on. Mum, I'm going down the Rec with Dazza. | 0:14:15 | 0:14:18 | |
-HIGH-PITCHED VOICE: -Not until you've finished hosting the show. | 0:14:18 | 0:14:22 | |
But, Mum! | 0:14:22 | 0:14:23 | |
-No buts. -I can't come out. See you tomoz. | 0:14:23 | 0:14:27 | |
Here are some classic goofs from teen films. | 0:14:30 | 0:14:33 | |
-Say it nicely! -Here are some classic goofs from teen films. | 0:14:33 | 0:14:37 | |
I saw that! | 0:14:39 | 0:14:40 | |
Next, in the light-hearted Easy A, Olive shows this boy what's what | 0:14:43 | 0:14:47 | |
by crushing an ice-cream cone in front of his face. | 0:14:47 | 0:14:51 | |
But the cone instantly reappears. Here today, cone tomorrow. | 0:14:51 | 0:14:56 | |
Now, watch Olive trying to take off her left boot | 0:15:00 | 0:15:02 | |
Is that lavender? It's pretty. | 0:15:02 | 0:15:05 | |
Which becomes her right boot, then she takes off her right boot again, | 0:15:05 | 0:15:09 | |
but somehow she's removed both her boots! | 0:15:09 | 0:15:12 | |
A clear example of two rights making a wrong. | 0:15:12 | 0:15:16 | |
In energetic Step Up 3D, it's the dance battle. | 0:15:19 | 0:15:22 | |
And as any B-boy knows, things get hot on the dance floor, | 0:15:22 | 0:15:27 | |
which is why the guy who's with those men pretending to be dogs | 0:15:27 | 0:15:30 | |
keeps taking his coat off. | 0:15:30 | 0:15:32 | |
Now you see it... | 0:15:34 | 0:15:36 | |
Now you don't. | 0:15:36 | 0:15:38 | |
Reminds me of my Nan's 80th. That was a lively affair. | 0:15:38 | 0:15:41 | |
Another one from Step Up, and take a look at Moose's bag, | 0:15:44 | 0:15:48 | |
because it's only on in the shots from behind. | 0:15:48 | 0:15:51 | |
Yeah, I mean I... | 0:15:51 | 0:15:53 | |
I'm a double major | 0:15:53 | 0:15:55 | |
Now, I know it's a backpack, | 0:15:55 | 0:15:56 | |
but you'd still see the strap on the front, right? | 0:15:56 | 0:15:59 | |
Yes? | 0:15:59 | 0:16:00 | |
What do you mean, you can't believe it? | 0:16:00 | 0:16:02 | |
It's Submarine, a reflective film about a son | 0:16:04 | 0:16:07 | |
trying to smooth out the creases in his parents' relationship. | 0:16:07 | 0:16:11 | |
And by the looks of things, | 0:16:13 | 0:16:15 | |
he's also smoothing out the creases in this drawing. | 0:16:15 | 0:16:19 | |
See? The fold's gone. | 0:16:19 | 0:16:20 | |
No need to set it on fire, though! | 0:16:20 | 0:16:24 | |
Oh! Kids! | 0:16:24 | 0:16:25 | |
Finally, a flashback scene in the worthless Twilight sequel, Eclipse. | 0:16:28 | 0:16:32 | |
Now, clothes in those days were made to last. | 0:16:32 | 0:16:37 | |
Look at that! | 0:16:37 | 0:16:39 | |
She stabs right through her dress and it doesn't even rip. | 0:16:39 | 0:16:42 | |
You don't get that kind of quality at Primark, do you? | 0:16:42 | 0:16:45 | |
And now another film's storyline flaws are reviewed and exposed | 0:16:47 | 0:16:51 | |
in Great Plot Hole Mistakes. | 0:16:51 | 0:16:53 | |
M Night Shyamalamadingdong's outlandish and far-fetched | 0:16:53 | 0:16:56 | |
2002 film Signs stars Mel Gibson | 0:16:56 | 0:16:59 | |
as a man who finds crop circles in his field which, it turns out, | 0:16:59 | 0:17:03 | |
is the work of ali-ons. | 0:17:03 | 0:17:05 | |
They've chosen to invade Earth for reasons that are mainly explained in crop circles, | 0:17:05 | 0:17:09 | |
which we can't understand. | 0:17:09 | 0:17:11 | |
Fortunately, the one substance able to destroy the ali-ons is water, | 0:17:11 | 0:17:15 | |
so they're fairly easily defeated. The End. | 0:17:15 | 0:17:18 | |
So what made the water-fearing ali-ons choose planet Earth, you might wonder? | 0:17:18 | 0:17:22 | |
-Just a minute, Lionel, did you say Planet Earth? -That's right. | 0:17:22 | 0:17:26 | |
But 71% of the earth's surface is water, which is lethal to us ali-ons. | 0:17:26 | 0:17:31 | |
Yes. | 0:17:31 | 0:17:32 | |
What about Mars? That's nice and dry. | 0:17:32 | 0:17:35 | |
There hasn't been water on Mars for ages. | 0:17:35 | 0:17:38 | |
Yes, but where's the challenge in that? Come on. | 0:17:38 | 0:17:41 | |
Are you an ali-on or a mouse? | 0:17:41 | 0:17:43 | |
OK, OK. | 0:17:43 | 0:17:45 | |
So, we go to one of the dry bits of Earth, like the Atacama Desert? | 0:17:45 | 0:17:48 | |
No, we go to nice verdant farming country | 0:17:48 | 0:17:51 | |
and choose specifically the house of a family of water-filled humans | 0:17:51 | 0:17:54 | |
whose daughter has a strange obsession with water. | 0:17:54 | 0:17:58 | |
But we'll be wearing protective waterproof clothing, yes? | 0:17:58 | 0:18:01 | |
No, I thought we'd go naked. | 0:18:01 | 0:18:03 | |
Naked?! What if they spit at us? | 0:18:03 | 0:18:05 | |
I don't know about you, but when I'm crowing over puny humans, | 0:18:05 | 0:18:09 | |
I like to have my guys out, swinging in the breeze. | 0:18:09 | 0:18:13 | |
I'm worried this might be the worst idea you've ever had, Lionel. | 0:18:13 | 0:18:16 | |
No, that was instant mashed potato. | 0:18:16 | 0:18:18 | |
THEY LAUGH | 0:18:18 | 0:18:22 | |
Why does Hollywood love remakes so much? | 0:18:24 | 0:18:27 | |
Well, sometimes a film is so close to being brilliant | 0:18:27 | 0:18:29 | |
but there's just one tiny thing that stops it being perfect, | 0:18:29 | 0:18:33 | |
like it's foreign, or it was made over ten years ago. | 0:18:33 | 0:18:35 | |
Things that stop anyone in their right mind wanting to watch it. | 0:18:35 | 0:18:38 | |
The other reason to remake a movie is if the original didn't quite get it right. | 0:18:38 | 0:18:43 | |
Who didn't think that Get Carter was improved by the addition of Sylvester Stallone? | 0:18:43 | 0:18:47 | |
Or that The Italian Job was crying out for a cameo by Marky Mark? | 0:18:47 | 0:18:50 | |
I, for one, can't wait for next year's summer blockbuster, | 0:18:50 | 0:18:54 | |
Citizen Kane... | 0:18:54 | 0:18:55 | |
with Miley Cyrus. | 0:18:55 | 0:18:56 | |
Mm. | 0:18:56 | 0:18:57 | |
The needless, over-the-top A-Team movie, | 0:18:59 | 0:19:03 | |
and maybe they should give up this soldiers-of-fortune malarkey | 0:19:03 | 0:19:07 | |
and become baggage handlers. Watch the case by the side of BA. | 0:19:07 | 0:19:11 | |
I want to kill you, man. | 0:19:11 | 0:19:12 | |
You're not going to kill me! I'm going to kill YOU! | 0:19:12 | 0:19:15 | |
It's now behind his head... | 0:19:15 | 0:19:17 | |
I got two guns here. | 0:19:17 | 0:19:18 | |
..then on the other side. | 0:19:19 | 0:19:22 | |
It moves around more than Hannibal's wig did in the old series. | 0:19:22 | 0:19:26 | |
Whoopsie! | 0:19:26 | 0:19:27 | |
Loyal fans of The A-Team had problems with the remake, | 0:19:29 | 0:19:33 | |
and this must have got their blood boiling. | 0:19:33 | 0:19:35 | |
Look, they've mis-spelled Murdock's name! | 0:19:35 | 0:19:38 | |
It's D-O-C-K, not D-O-C-H. | 0:19:38 | 0:19:41 | |
I pity the fool who made that mistake. | 0:19:41 | 0:19:44 | |
Saying that, I also pity the person | 0:19:44 | 0:19:46 | |
who still cares so much about The A-Team. | 0:19:46 | 0:19:49 | |
At the end of the instantly forgettable Mechanic remake, | 0:19:54 | 0:19:57 | |
Ben Foster selects a jazz record to play on the posh turntable. | 0:19:57 | 0:20:01 | |
Ah! I love a bit of free form experimental jazz. | 0:20:01 | 0:20:05 | |
CLASSICAL MUSIC PLAYS | 0:20:05 | 0:20:09 | |
Hang on! It's ruddy Shubert's Trio Number Two! | 0:20:09 | 0:20:12 | |
But it definitely says "Jazz" on the cover. | 0:20:14 | 0:20:18 | |
Right, back to HMV. | 0:20:18 | 0:20:20 | |
Gulliver's Travels with Jack Black, | 0:20:22 | 0:20:25 | |
perfect casting, as the book was all about a loveable, | 0:20:25 | 0:20:28 | |
immature, rock-loving idiot. | 0:20:28 | 0:20:30 | |
Cos he called it a "mandate", so... | 0:20:30 | 0:20:31 | |
The kind of character that doesn't know his right hand from his left. | 0:20:31 | 0:20:35 | |
-..bushy-tailed for the boys. -The right... | 0:20:35 | 0:20:37 | |
Now the left. | 0:20:37 | 0:20:39 | |
Jonathan Swift can rest easy that his work is in safe, | 0:20:39 | 0:20:42 | |
but confused hands. | 0:20:42 | 0:20:44 | |
We just got here. | 0:20:44 | 0:20:46 | |
In the final scene, Gulliver returns from his travels | 0:20:48 | 0:20:50 | |
and gains this girlfriend. | 0:20:50 | 0:20:53 | |
When I returned from my travels, all I gained was a case of the trots. | 0:20:53 | 0:20:57 | |
But what has she got to hide? | 0:20:57 | 0:21:00 | |
Her ID is the wrong way round, | 0:21:00 | 0:21:03 | |
Danke schon. | 0:21:03 | 0:21:04 | |
then it flips... | 0:21:04 | 0:21:05 | |
Mark. I'm just the new guy in the mailroom... | 0:21:05 | 0:21:09 | |
Now it's hidden again. Hm...mysterious. | 0:21:09 | 0:21:12 | |
Some films just don't know when to quit making mistakes. | 0:21:14 | 0:21:18 | |
In the end credits for Gulliver's Travels, | 0:21:18 | 0:21:20 | |
check out the date on this newspaper. | 0:21:20 | 0:21:23 | |
June 20th to June 3rd? | 0:21:23 | 0:21:25 | |
Someone obviously feels like time was moving backwards | 0:21:25 | 0:21:29 | |
when they were watching this film. I didn't. | 0:21:29 | 0:21:32 | |
Off to Jellystone Park for the charmless Yogi Bear movie. | 0:21:34 | 0:21:38 | |
Booboo has handcuffed Yogi to a tree. | 0:21:38 | 0:21:41 | |
But keep an eye on which paw the handcuff is on. | 0:21:41 | 0:21:44 | |
First it's his right paw, | 0:21:45 | 0:21:48 | |
then it's his left paw, | 0:21:48 | 0:21:51 | |
then his right paw again. | 0:21:51 | 0:21:53 | |
Either way, it's very PAW indeed. | 0:21:53 | 0:21:55 | |
Hello and welcome to Pointless View, | 0:22:02 | 0:22:04 | |
the programme where you have the chance to blow off about the things that really ruin films for you. | 0:22:04 | 0:22:09 | |
You know how it is. | 0:22:09 | 0:22:10 | |
It's impossible to follow a story if a flag's upside down, isn't it? | 0:22:10 | 0:22:14 | |
I personally had Braveheart ruined for me by an errant tartan | 0:22:14 | 0:22:17 | |
and Mel Gibson not being a blue 13th-century Scotsman, | 0:22:17 | 0:22:20 | |
but a brownish 20th-century Australian. | 0:22:20 | 0:22:23 | |
Here's a letter from Zorro Madeley of Funningham. | 0:22:23 | 0:22:27 | |
How was I expected to enjoy the wizardry-pokery of Harry Potter and The Deathly Hallows | 0:22:27 | 0:22:32 | |
when it featured a bus bound for Dartford, to the south, | 0:22:32 | 0:22:35 | |
seen taking the tunnel north, | 0:22:35 | 0:22:36 | |
even though southbound traffic takes the bridge? | 0:22:36 | 0:22:39 | |
There hasn't been a southbound tunnel at Dartford since 1991. | 0:22:39 | 0:22:42 | |
From that point on, I felt it impossible | 0:22:42 | 0:22:44 | |
to believe in the enchanted chosen one of Hogwarts. | 0:22:44 | 0:22:47 | |
I'm not an idiot. | 0:22:47 | 0:22:49 | |
Precious Haystacks of Bumley says this. | 0:22:49 | 0:22:52 | |
In the so-called King's Speech, | 0:22:52 | 0:22:54 | |
the eponymous King's eponymous speech is enjoyed live | 0:22:54 | 0:22:59 | |
by a group of factory workers. It was broadcast at 6pm on a Sunday, | 0:22:59 | 0:23:04 | |
so the only factory operating at such a time in a Christian country like Great Britain | 0:23:04 | 0:23:09 | |
would have been one run by Satan. | 0:23:09 | 0:23:12 | |
Am I to believe that our King would broadcast to the minions of hell? | 0:23:12 | 0:23:16 | |
I'm not an idiot. | 0:23:16 | 0:23:17 | |
Wing Commander Flava Tebbit is exercised by the shape of melted sand. | 0:23:17 | 0:23:21 | |
As someone who only watches films for the glassware in them, | 0:23:21 | 0:23:26 | |
I was enraged by the John Lennon biopic Nowhere Boy, | 0:23:26 | 0:23:29 | |
in which the Beatle-to-be is seen drinking from a nonic pint glass, | 0:23:29 | 0:23:34 | |
a type not invented until nearly three years after the scene was set. | 0:23:34 | 0:23:39 | |
I'm not a man given to tears, but I cried for nearly a fortnight, | 0:23:39 | 0:23:43 | |
and am now taking medicine. | 0:23:43 | 0:23:45 | |
I'm not an idiot. | 0:23:45 | 0:23:47 | |
I'm glad to hear it, Wing Commander. | 0:23:47 | 0:23:49 | |
A Mr Puff Diddy Hamilton of Underdunderden says... | 0:23:49 | 0:23:52 | |
I'm known for my sense of humour, and have laughed twice, | 0:23:52 | 0:23:55 | |
but I failed to see the joke in Drive Angry, | 0:23:55 | 0:23:57 | |
when a hydrogen truck is shown | 0:23:57 | 0:23:59 | |
labelled with a hazardous material placard bearing the number 1075. | 0:23:59 | 0:24:03 | |
1075, as any film buff knows, is the UN number for propane. | 0:24:03 | 0:24:07 | |
Hydrogen is in the range 1048-1053, | 0:24:07 | 0:24:10 | |
and I shall be returning the director's pretty young wife | 0:24:10 | 0:24:13 | |
to him piece by piece until this is corrected. | 0:24:13 | 0:24:16 | |
I'm not an idiot. | 0:24:16 | 0:24:17 | |
Blind Lemon Palmer-Tomkinson of Walton-on-Toast is even more forthright. | 0:24:17 | 0:24:21 | |
In the Kate Hudson film A Little Bit Of Heaven, | 0:24:21 | 0:24:25 | |
one of the characters calls a radio station to enter a competition. | 0:24:25 | 0:24:28 | |
My enjoyment was quite ruined by the absence of a squeal of feedback, | 0:24:28 | 0:24:33 | |
such as would have been heard. | 0:24:33 | 0:24:35 | |
-Hello? -'Who is this?' -Marley Corbett. Did I win? | 0:24:35 | 0:24:39 | |
I'm sure plenty of people would have liked to hear a howl of interference | 0:24:39 | 0:24:43 | |
and painful high-pitched whistling in this otherwise rather quiet film. | 0:24:43 | 0:24:49 | |
I'm not an idiot. | 0:24:49 | 0:24:50 | |
Pontius Bon Jovi of Gloveswold has a bee in his ointment | 0:24:50 | 0:24:53 | |
about the Anne Hathaway film Love And Other Drugs. | 0:24:53 | 0:24:56 | |
Jake Gyllenhaaaal's character is seen to be using an iMac | 0:24:56 | 0:25:00 | |
attached to an Apple Pro Mouse in what's supposed to be 1996. | 0:25:00 | 0:25:04 | |
But the Pro wasn't available until 2000. | 0:25:04 | 0:25:07 | |
To my disappointment, this time-travelling subplot wasn't picked up on anywhere in the film. | 0:25:07 | 0:25:12 | |
Perhaps the makers were worried that | 0:25:12 | 0:25:14 | |
if Jake Gyllenhaaaal were able to travel four years into the future, | 0:25:14 | 0:25:18 | |
it would ruin the will-they, won't-they romance. | 0:25:18 | 0:25:21 | |
I was sick in my mouth and someone else's and went home. | 0:25:21 | 0:25:23 | |
I'm not an idiot. | 0:25:23 | 0:25:25 | |
But it's not all bad news. | 0:25:25 | 0:25:27 | |
This letter is from Seven Zark Mountbatten of The Isle Of Teeth. | 0:25:27 | 0:25:31 | |
I usually enjoy the films of Angelina Jolie, | 0:25:31 | 0:25:33 | |
who is a beautiful and striking woman. | 0:25:33 | 0:25:36 | |
But in Salt, her character's name was Chenkov, a Russian male surname. | 0:25:36 | 0:25:39 | |
The female version would, of course, be Chenkova. | 0:25:39 | 0:25:42 | |
As a result of this error, I have become homosexual, | 0:25:42 | 0:25:44 | |
a consequence both unexpected and fabulous. | 0:25:44 | 0:25:47 | |
I'm not an idiot. | 0:25:47 | 0:25:49 | |
A satisfied customer? Good night. | 0:25:49 | 0:25:52 | |
So often with films, the stars get the awards, | 0:25:57 | 0:25:59 | |
but what about those people behind the scenes? How do they get noticed? | 0:25:59 | 0:26:03 | |
They could become the best in their field or work their way up to become a famous director. | 0:26:03 | 0:26:08 | |
Or they could just stand in the back of shot. | 0:26:08 | 0:26:10 | |
Well, that's exactly what we're awarding now - | 0:26:10 | 0:26:12 | |
those people who went that extra distance | 0:26:12 | 0:26:15 | |
from out-of-shot to into shot. | 0:26:15 | 0:26:17 | |
What? | 0:26:19 | 0:26:20 | |
It's the Great Movie Mistakes Award for Best Supporting Actor, | 0:26:22 | 0:26:25 | |
and here are the nominations. | 0:26:25 | 0:26:28 | |
Lightweight action from Knight And Day and some great scene stealing. | 0:26:28 | 0:26:33 | |
Look at the security guards behind Cameron Diaz. | 0:26:33 | 0:26:36 | |
They suddenly change into normal civilians | 0:26:38 | 0:26:42 | |
and then back into security guards at the top of the escalator. | 0:26:42 | 0:26:46 | |
Maybe they were just working undercover for a bit. | 0:26:47 | 0:26:50 | |
If you've got a problem, maybe you can hire The A-Team, | 0:26:56 | 0:26:59 | |
to clean your windows, because... | 0:26:59 | 0:27:01 | |
Let's go back. | 0:27:01 | 0:27:04 | |
Mr T has got that window so clean, | 0:27:04 | 0:27:06 | |
you can see the cameraman's own reflection in it. | 0:27:06 | 0:27:09 | |
A blatant and unwelcome cameo. A bit like the movie. | 0:27:11 | 0:27:15 | |
In seen-it-all-before thriller The Resident, | 0:27:19 | 0:27:22 | |
Jack returns to his flat and senses all is not right. | 0:27:22 | 0:27:27 | |
If it the presence of a ghostly character? | 0:27:27 | 0:27:29 | |
Or just the reflection of the clumsy cameraman in his kitchen window? | 0:27:29 | 0:27:34 | |
Time to move out, if you ask me, Jack. | 0:27:34 | 0:27:38 | |
Who are you texting? | 0:27:40 | 0:27:42 | |
It's crazy horror comedy Vampires Suck | 0:27:42 | 0:27:44 | |
and Alice gets a mobile phone right in the face. | 0:27:44 | 0:27:48 | |
Now, either Edward is a very good shot or someone just off camera | 0:27:48 | 0:27:53 | |
is throwing a mobile phone right in her face. | 0:27:53 | 0:27:56 | |
There, thrown from point-blank range. | 0:27:57 | 0:28:00 | |
That's a bit "phoney"! | 0:28:00 | 0:28:02 | |
But the winner is Man In Shorts. | 0:28:07 | 0:28:10 | |
It's the climax of the testosterone-dripping Expendables | 0:28:10 | 0:28:14 | |
and all hell is breaking loose. | 0:28:14 | 0:28:16 | |
Everyone's running for their lives, | 0:28:16 | 0:28:18 | |
but hold on, who's this fellow in Bermuda shorts with the camcorder? | 0:28:18 | 0:28:23 | |
A very unfortunate tourist? | 0:28:23 | 0:28:26 | |
Next year, I'd stick to Rhyl. There's fewer explosions. | 0:28:26 | 0:28:30 | |
Sure, horror movies are scary, | 0:28:32 | 0:28:34 | |
but are they scarier than things that happen in real life? | 0:28:34 | 0:28:37 | |
I've yet to see anything in a film that makes me jump more than | 0:28:37 | 0:28:40 | |
when you wake up and find you've slept through an alarm. | 0:28:40 | 0:28:43 | |
Sure, bad things happen to people in the Saw films, | 0:28:43 | 0:28:45 | |
but nothing as bad as accidentally calling your girlfriend by your ex-girlfriend's name. | 0:28:45 | 0:28:50 | |
Now that is terrifying. I love watching horror films, | 0:28:50 | 0:28:52 | |
but the atmosphere's got to be just right. | 0:28:52 | 0:28:55 | |
What I do is I light some candles and place them around the room | 0:28:55 | 0:28:58 | |
then put on some scary music before it starts, to get in the mood. | 0:28:58 | 0:29:02 | |
I pull the duvet over my head and then I'm thrown out the cinema. | 0:29:02 | 0:29:05 | |
It's the flat and pointless remake of I Spit On Your Grave. | 0:29:07 | 0:29:12 | |
Watch this video tape because it keeps changing position. | 0:29:12 | 0:29:15 | |
To my what? | 0:29:17 | 0:29:19 | |
This scene reminds me of my dad trying to work the video. | 0:29:19 | 0:29:23 | |
-Dad, you've put it the wrong way round. -What's on the tape? | 0:29:23 | 0:29:27 | |
-Is this some kind of -BLEEP -up joke? I'll smash the damn thing myself. | 0:29:27 | 0:29:31 | |
Dad, not that way either. | 0:29:31 | 0:29:33 | |
Any second, I expect this film to be wiped over with the snooker. | 0:29:33 | 0:29:37 | |
This is a shot he plays well. | 0:29:37 | 0:29:39 | |
Case 39 creates a self of menace and unease right from the start. | 0:29:43 | 0:29:48 | |
Don't believe me? Look at Renee Zellweger's car window. | 0:29:48 | 0:29:52 | |
First it's down. | 0:29:52 | 0:29:55 | |
Then it's up. | 0:29:55 | 0:29:57 | |
What malevolent force could be at work here? | 0:29:57 | 0:30:00 | |
The force of not paying attention, I wager. Hmm? | 0:30:00 | 0:30:04 | |
Another cock-up from case 39. Watch the knife as she takes it out. | 0:30:07 | 0:30:11 | |
In a second shot, it's much bigger. | 0:30:14 | 0:30:16 | |
Watch again. | 0:30:19 | 0:30:20 | |
Little knife... | 0:30:20 | 0:30:22 | |
Big knife! | 0:30:24 | 0:30:26 | |
Maybe when she first took it out it was just a bit cold. | 0:30:26 | 0:30:29 | |
Final clip from Case 39, and here we see a shape-shifting house. | 0:30:31 | 0:30:36 | |
Take a look at the corridor to her left. | 0:30:36 | 0:30:39 | |
Now it's a door. | 0:30:44 | 0:30:45 | |
And now the door is open. | 0:30:48 | 0:30:51 | |
I don't know whether to call an exorcist or Colin and Justin. | 0:30:52 | 0:30:56 | |
Honey, where are you? | 0:30:58 | 0:31:00 | |
Low-budget and low-rent Insidious now, | 0:31:00 | 0:31:03 | |
starring a rather casual Patrick Wilson with his shirt open. | 0:31:03 | 0:31:06 | |
Something's wrong. Quick, Patrick! Quicker! | 0:31:08 | 0:31:11 | |
BOY SCREAMS | 0:31:11 | 0:31:13 | |
Oh, you're finally here. Where have you been? | 0:31:13 | 0:31:17 | |
Oh, busy putting a tie on, | 0:31:17 | 0:31:19 | |
to look all smart for your distressed hysterical son. | 0:31:19 | 0:31:21 | |
-How thoughtful. -Are you OK? | 0:31:21 | 0:31:24 | |
And now, Patrick's investigating the ghostly noise outside. | 0:31:26 | 0:31:30 | |
But, the porch lightbulb's just gone. Nightmare! | 0:31:30 | 0:31:35 | |
Well, maybe the ghost will change it. | 0:31:37 | 0:31:40 | |
Oh, he did! | 0:31:40 | 0:31:42 | |
I don't trust ghosts, you can see right through them. | 0:31:42 | 0:31:45 | |
Things are getting really scary in Insidious now. | 0:31:47 | 0:31:51 | |
Patrick's approaching the red door. | 0:31:51 | 0:31:54 | |
Look at all that smoke. Where's it all coming from? | 0:31:54 | 0:31:58 | |
Oh, the smoke machine in the corner. | 0:32:01 | 0:32:03 | |
This next section is about anachronisms, | 0:32:05 | 0:32:07 | |
which is when a thing is historically out of place. | 0:32:07 | 0:32:10 | |
Like a computer in Robin Hood | 0:32:10 | 0:32:12 | |
or a mobile phone in The Importance Of Being Earnest, | 0:32:12 | 0:32:15 | |
or those trainers on a cameraman who lives in the year 2011! | 0:32:15 | 0:32:19 | |
Don't look like that, Paul, I'm just joking. | 0:32:19 | 0:32:22 | |
I'm only joking, mate, come on! Don't be like that. | 0:32:22 | 0:32:25 | |
Look at the good times we've had. | 0:32:25 | 0:32:27 | |
Look at this block of flats in the powerful true-life flick | 0:32:29 | 0:32:32 | |
Made In Dagenham. | 0:32:32 | 0:32:34 | |
It's 1968, but someone's so far ahead of their time, | 0:32:34 | 0:32:39 | |
they've already got a satellite dish | 0:32:39 | 0:32:40 | |
and can watch reruns of programmes that haven't yet been made. | 0:32:40 | 0:32:45 | |
Here's a Ronnie Barker look-alike, denying that his factory workers | 0:32:47 | 0:32:50 | |
are members of a troublesome political group. | 0:32:50 | 0:32:53 | |
Do you know what we're dealing with? | 0:32:53 | 0:32:55 | |
Socialist Workers' Party, Workers' Revolutionary Party, | 0:32:55 | 0:32:59 | |
-Revolutionary Communist -BLEEP -Party. | 0:32:59 | 0:33:01 | |
-Who's she with? -We don't actually think she's with anyone, sir. | 0:33:01 | 0:33:05 | |
We actually don't think she's a Communist. | 0:33:05 | 0:33:07 | |
But of course she isn't. None of these groups existed in the '60s. | 0:33:07 | 0:33:12 | |
I need a good trainer... | 0:33:15 | 0:33:16 | |
Secretariat is a plodding film, | 0:33:16 | 0:33:19 | |
but this old chap's getting down with the kids by showing off | 0:33:19 | 0:33:22 | |
his knowledge of 1972 hit movie Super Fly. | 0:33:22 | 0:33:25 | |
He's a French Canadian, dresses like Super Fly. | 0:33:25 | 0:33:30 | |
A shame that this film's set in 1969. Not so hip, Daddy-o. | 0:33:30 | 0:33:35 | |
It's inspirational '80s movie The Fighter, | 0:33:39 | 0:33:41 | |
where Marky Mark's funky bunch is swapped for some squabbling ladies. | 0:33:41 | 0:33:45 | |
But ignore them and look at the 2011 vehicle inspection sticker | 0:33:45 | 0:33:49 | |
in his buddy's car windscreen. | 0:33:49 | 0:33:52 | |
Trying to reverse away isn't going to help. | 0:33:52 | 0:33:55 | |
In '60s heart-warmer That's What I Am, | 0:33:58 | 0:34:01 | |
young Andy plays a drum kit with Sabian cymbals. | 0:34:01 | 0:34:05 | |
But Sabian didn't begin manufacturing cymbals until 1981. | 0:34:05 | 0:34:09 | |
That was certainly interesting. | 0:34:09 | 0:34:12 | |
Well, no, it certainly wasn't. | 0:34:12 | 0:34:14 | |
The bleak and frightening The Killer Inside Me, | 0:34:19 | 0:34:22 | |
and Casey Affleck's rummaging about in a lady's drawers. | 0:34:22 | 0:34:25 | |
Sheriff's office, ma'am, what are you doing with it? | 0:34:25 | 0:34:29 | |
I have a permit. | 0:34:29 | 0:34:30 | |
Apparently looking for a gun permit. | 0:34:30 | 0:34:33 | |
Something that's not needed to own a gun in Texas. | 0:34:33 | 0:34:36 | |
Satisfied, copper? | 0:34:36 | 0:34:39 | |
Hmm, a likely story. I think he just wants to fondle her pants. | 0:34:39 | 0:34:43 | |
I reckon it's all right. | 0:34:43 | 0:34:45 | |
-Now Casey's giving us his life story. -I was born here 29 years ago. | 0:34:50 | 0:34:55 | |
Central City was small enough... | 0:34:55 | 0:34:57 | |
But look, here's a modern USPS truck reflected in the window. | 0:34:57 | 0:35:02 | |
Born ruddy yesterday, more like. | 0:35:02 | 0:35:04 | |
These days, the world of animation can produce miraculous characters | 0:35:06 | 0:35:09 | |
that are out of this world. But don't just believe me. | 0:35:09 | 0:35:12 | |
Why don't we ask my animated sidekick? It's Squigaloo Squirrel. | 0:35:12 | 0:35:16 | |
Hello there, Squigaloo! | 0:35:18 | 0:35:20 | |
Oh, Squigaloo, you do say the silliest things. | 0:35:21 | 0:35:24 | |
HE LAUGHS | 0:35:24 | 0:35:27 | |
No, you are, Squigaloo. | 0:35:27 | 0:35:29 | |
Now, introduce the next set of clips for the ladies and gentlemen, | 0:35:29 | 0:35:32 | |
featuring bloopers in animated movies. | 0:35:32 | 0:35:35 | |
Great. So we're going to put the squirrel on after, yeah? | 0:35:38 | 0:35:41 | |
Otherwise, that's just me talking to a brick. | 0:35:41 | 0:35:44 | |
I might look a ninny. | 0:35:44 | 0:35:46 | |
OK. | 0:35:47 | 0:35:49 | |
Well, I'll trust you this time. | 0:35:49 | 0:35:51 | |
Wild West fun now. | 0:35:56 | 0:35:58 | |
When Rango drops his bullets, we see him reloading them | 0:35:59 | 0:36:03 | |
on the right side of his gun. | 0:36:03 | 0:36:06 | |
-However, the chamber is hanging on the left side. -Just a second. | 0:36:06 | 0:36:12 | |
Later on in the same scene, chameleons may be good at changing, | 0:36:14 | 0:36:18 | |
but some things shouldn't change. | 0:36:18 | 0:36:20 | |
Like here... | 0:36:20 | 0:36:22 | |
where the hawk is completely flattened to the ground... | 0:36:22 | 0:36:26 | |
..and now his feet poke up when they shouldn't be there. | 0:36:30 | 0:36:33 | |
More Rango, and this car crash has a traumatic effect | 0:36:35 | 0:36:38 | |
on the doll he shares a tank with. | 0:36:38 | 0:36:41 | |
Here she has a right arm. | 0:36:41 | 0:36:43 | |
But after this crash, it's now a left arm. | 0:36:49 | 0:36:51 | |
At the end of the day, I suppose it's just an "armless" bit of fun. | 0:36:53 | 0:36:58 | |
Some pig ignorance from the animators of Shrek. | 0:37:01 | 0:37:05 | |
Yes, he's back and he seems to be over the moon to be scaring everyone again. | 0:37:05 | 0:37:09 | |
Look how he scares those pigs. | 0:37:11 | 0:37:13 | |
He must have really scared them because as we zoom out, | 0:37:13 | 0:37:16 | |
they're nowhere to be seen. | 0:37:16 | 0:37:18 | |
Another Shrek mistake. | 0:37:24 | 0:37:25 | |
Yes, indeed, keep your eye on the letter F on the hanky | 0:37:25 | 0:37:29 | |
that Shrek picks up. | 0:37:29 | 0:37:31 | |
One minute it's there... | 0:37:35 | 0:37:38 | |
..then it's over there on completely the other side. | 0:37:39 | 0:37:43 | |
Get it right, for F's sake. | 0:37:43 | 0:37:46 | |
Disney's back on form now, even if the film-makers | 0:37:48 | 0:37:50 | |
get just as tangled as their characters in Tangled. | 0:37:50 | 0:37:54 | |
Flynn Ryder struggles onto his side as he's tied to the chair. | 0:37:54 | 0:37:58 | |
No can do. | 0:37:58 | 0:37:59 | |
However, next time he's pulled into shot, he's on his back again. | 0:38:01 | 0:38:05 | |
-Hairy stuff, I think you'll agree. -A horse? | 0:38:05 | 0:38:08 | |
Classy sequel Toy Story 3, where Barbie removes two screws | 0:38:10 | 0:38:15 | |
that hold Buzz Lightyear's back compartment. | 0:38:15 | 0:38:17 | |
..show you no mercy. | 0:38:17 | 0:38:18 | |
Why's it not working? | 0:38:20 | 0:38:21 | |
However, at no point do they re-screw the compartment closed. | 0:38:21 | 0:38:25 | |
It just stays shut for the rest of the movie. | 0:38:25 | 0:38:27 | |
IN SPANISH: | 0:38:27 | 0:38:28 | |
No wonder he's acting like he's got a screw loose. | 0:38:28 | 0:38:31 | |
Toy Story 3 begins with Mr Potato Head having only one eye | 0:38:39 | 0:38:42 | |
so that Andy can pretend he's wearing an eye patch. | 0:38:42 | 0:38:46 | |
But keep your eyes peeled on Mr Potato's eyes, | 0:38:48 | 0:38:51 | |
because when Andy's "mom" films him, he's suddenly regained it. | 0:38:51 | 0:38:56 | |
Peeled, you get it? Like peeling a potato? | 0:38:56 | 0:38:58 | |
Right, please yourselves. | 0:38:58 | 0:39:00 | |
I always say the key to a successful double act is having two people... | 0:39:02 | 0:39:08 | |
From my experience, if you want to create a successful double act, | 0:39:08 | 0:39:11 | |
and you're not very cool, | 0:39:11 | 0:39:12 | |
find someone who is much less cool than you, | 0:39:12 | 0:39:15 | |
and then you'll be known as the cool one. | 0:39:15 | 0:39:17 | |
Some Hollywood double acts work so well together, it's hard to imagine one without the other. | 0:39:17 | 0:39:22 | |
Tom Hanks and Meg Ryan, Brad and Angelina, | 0:39:22 | 0:39:24 | |
Lindsay Lohan and her parole officer. | 0:39:24 | 0:39:27 | |
But my favourite double act has got to be Superman and Clark Kent. | 0:39:27 | 0:39:32 | |
What? | 0:39:32 | 0:39:33 | |
How can they be the same person? They don't look anything alike. | 0:39:34 | 0:39:37 | |
He just wears glasses?! | 0:39:37 | 0:39:39 | |
That is so... So clever. | 0:39:39 | 0:39:42 | |
OK, then it's got to be Spiderman and Peter Parker. | 0:39:42 | 0:39:46 | |
The surprisingly dark Love And Other Drugs now, | 0:39:48 | 0:39:52 | |
and watch Anne Hathaway's arm. | 0:39:52 | 0:39:54 | |
It's under the pillow behind Jake Gyllenhaal's arm, | 0:39:54 | 0:39:56 | |
then it pops up before tucking itself back behind the pillow | 0:39:56 | 0:40:01 | |
like his arm's made of nothing. | 0:40:01 | 0:40:03 | |
Also, she's not pointing and laughing, | 0:40:03 | 0:40:05 | |
which in my experience is what women normally do after sex. Right? | 0:40:05 | 0:40:09 | |
Here's a scene from the goofy Dinner for Schmucks, | 0:40:11 | 0:40:14 | |
and just keep an eye on her ears. | 0:40:14 | 0:40:16 | |
He wants me to curate it. | 0:40:16 | 0:40:17 | |
Oh, my God! | 0:40:17 | 0:40:19 | |
She's lost her earrings! | 0:40:19 | 0:40:21 | |
You call a guy a douche and you get your first museum show out of it. | 0:40:21 | 0:40:24 | |
Now they're back. | 0:40:24 | 0:40:25 | |
I love you so much. You're stunning, smart and awful with pronunciation. | 0:40:25 | 0:40:30 | |
Now they've gone again! | 0:40:30 | 0:40:31 | |
Apparently she's wearing a new type of jewellery. | 0:40:31 | 0:40:35 | |
Disappear-rings! | 0:40:35 | 0:40:38 | |
I love you. | 0:40:38 | 0:40:39 | |
Oh, my God. | 0:40:43 | 0:40:45 | |
Here, Steve Carrel wrestles Paul Rudd away from a lift. | 0:40:45 | 0:40:49 | |
I think we need to cool off... | 0:40:49 | 0:40:50 | |
Gosh, I hate when that happens. | 0:40:50 | 0:40:52 | |
Look, he's grabbing him by the arm. | 0:40:52 | 0:40:55 | |
He's got his arm. | 0:40:55 | 0:40:56 | |
And then suddenly... it's his right leg! | 0:40:56 | 0:41:00 | |
What a joke. | 0:41:00 | 0:41:03 | |
Paul Rudd's not the only one having his leg pulled around here. | 0:41:03 | 0:41:06 | |
THEY GRUNT AND MOAN | 0:41:06 | 0:41:08 | |
You are welcome. | 0:41:08 | 0:41:10 | |
In this bit, Steve Carrel changes his specs | 0:41:15 | 0:41:18 | |
so he can dress a mouse for its impending marriage. | 0:41:18 | 0:41:22 | |
Nice cameo by Stuart Little. | 0:41:27 | 0:41:30 | |
But when he removes the magnifying glasses... | 0:41:32 | 0:41:35 | |
Oops, his normal glasses are still on. | 0:41:35 | 0:41:39 | |
What a mouse-stake to make. | 0:41:39 | 0:41:40 | |
At the schmucks' dinner itself, | 0:41:44 | 0:41:47 | |
watch out for the lady in the purple dress, who's in two places at once. | 0:41:47 | 0:41:52 | |
Here she is. | 0:41:55 | 0:41:57 | |
And now she's over here too. | 0:41:57 | 0:42:00 | |
Incredible! At least she can pass herself the salt. | 0:42:00 | 0:42:03 | |
Here, Steve plays such a schmuck that he walks straight into a pond and gets his trousers wet. | 0:42:11 | 0:42:17 | |
But hang on. | 0:42:17 | 0:42:18 | |
They're already wet before he goes in, from a previous take. | 0:42:18 | 0:42:23 | |
When they said this comedy was pant-wetting, | 0:42:23 | 0:42:25 | |
I thought they meant it was funny! | 0:42:25 | 0:42:28 | |
Oh, the usual scene. | 0:42:30 | 0:42:32 | |
A man asleep in the bath with his hand down the toilet. | 0:42:32 | 0:42:36 | |
This is the predictable Just Go With It, | 0:42:36 | 0:42:40 | |
which was the editor probably said when he saw that the toilet seat was down instead of up on the next shot. | 0:42:40 | 0:42:46 | |
Just go with it. No-one will notice. | 0:42:48 | 0:42:50 | |
I mean, that kid's not noticed, and he's sat on a man's hand. | 0:42:52 | 0:42:56 | |
Jennifer Aniston and Adam Sandler play plastic surgeons, | 0:42:58 | 0:43:03 | |
but maybe it's their movie that needs corrective surgery. | 0:43:03 | 0:43:06 | |
I think that's enough. Do you feel that? | 0:43:06 | 0:43:09 | |
No. | 0:43:09 | 0:43:10 | |
One moment Sandler is wearing rubber gloves, and then suddenly... | 0:43:10 | 0:43:13 | |
..they've gone! | 0:43:13 | 0:43:15 | |
That bra is the perfect size, Sandler, | 0:43:15 | 0:43:18 | |
Cos you've just made one massive boob. | 0:43:18 | 0:43:20 | |
Film animals are intensively-trained creatures | 0:43:24 | 0:43:27 | |
who behave exactly the way the director wants them to. | 0:43:27 | 0:43:30 | |
-But sometimes corners are cut. -The pig is tasting my body! | 0:43:30 | 0:43:33 | |
No, he's not. | 0:43:33 | 0:43:35 | |
He should be saying, "The pig is eating the food that I've smeared all over my back to attract it." | 0:43:35 | 0:43:41 | |
The pig's the one who's least at fault. | 0:43:41 | 0:43:43 | |
The pig is tasting my body! | 0:43:43 | 0:43:45 | |
More films are made about cars than any other mode of transport. | 0:43:47 | 0:43:51 | |
I used to love cars so much that I'd ever only watch | 0:43:51 | 0:43:53 | |
the final third of Planes, Trains And Automobiles. | 0:43:53 | 0:43:56 | |
But these days, I'm much more environmentally minded | 0:43:56 | 0:43:59 | |
and I think Hollywood should follow suit. | 0:43:59 | 0:44:01 | |
In The Italian Job, instead of Mini Coopers, | 0:44:01 | 0:44:04 | |
they should have foldaway bikes. | 0:44:04 | 0:44:05 | |
And I want to see The Fast And The Furious on Segways. | 0:44:05 | 0:44:08 | |
That said, would Ryan Gosling have looked as cool if, | 0:44:08 | 0:44:11 | |
instead of Drive, the film had been called Walk? | 0:44:11 | 0:44:15 | |
Insightful teen fun in Easy A, and Todd is driving Olive home. | 0:44:19 | 0:44:23 | |
But when we catch a glimpse of the speedometer, | 0:44:23 | 0:44:26 | |
we see that they're travelling at 0mph. | 0:44:26 | 0:44:30 | |
Something must be wrong with your car, mate. | 0:44:30 | 0:44:33 | |
Easy A? Better call the Easy AA, hmm?! Huh?! | 0:44:33 | 0:44:36 | |
In the straightforward Just Go With It, Jennifer Aniston | 0:44:38 | 0:44:42 | |
perfectly parks, silencing any chauvinists. | 0:44:42 | 0:44:45 | |
D'oh. Wait a minute. | 0:44:45 | 0:44:47 | |
What is that? | 0:44:47 | 0:44:48 | |
Turns out she's gone all over the lines. Birds, eh? | 0:44:48 | 0:44:52 | |
What? | 0:44:52 | 0:44:53 | |
The slow but thoughtful Rabbit Hole now, | 0:44:55 | 0:44:58 | |
and Nicole's not wearing a seatbelt. | 0:44:58 | 0:45:00 | |
-I don't want to move. -I don't want another baby. | 0:45:00 | 0:45:03 | |
CAR HORN BLARES | 0:45:03 | 0:45:05 | |
Luckily, a seatbelt appeared just in the nick of time. | 0:45:05 | 0:45:09 | |
A clunk-click clunker. | 0:45:09 | 0:45:11 | |
-What're you doing? -I just had to check the cake. | 0:45:11 | 0:45:14 | |
Matthew McConaughey's such a successful lawyer | 0:45:17 | 0:45:20 | |
in the thrilling drama The Lincoln lawyer, | 0:45:20 | 0:45:22 | |
that he's got a number plate that says NT GUILTY on it. Classy! | 0:45:22 | 0:45:28 | |
But in California, a licence plate can only have seven letters on it. | 0:45:28 | 0:45:32 | |
And NT GUILTY has eight. | 0:45:32 | 0:45:34 | |
Which makes it an illegal number plate, and very guilty indeed. | 0:45:34 | 0:45:39 | |
Oh, the irony! | 0:45:39 | 0:45:41 | |
He also has a chauffeur, which seems a bit poncey. | 0:45:43 | 0:45:46 | |
Surely he could drive himself? | 0:45:46 | 0:45:49 | |
Actually, the car can drive itself. | 0:45:49 | 0:45:51 | |
Yep, it was moving before he'd even started it. | 0:45:54 | 0:45:57 | |
Maybe his car is a distant cousin of Herbie. | 0:46:01 | 0:46:04 | |
When I heard that the downbeat drama Winter's Bone was a bit backward, | 0:46:06 | 0:46:12 | |
I thought that meant it was full of uneducated hillbilly types. | 0:46:12 | 0:46:15 | |
But no, it actually means it's backward, | 0:46:15 | 0:46:18 | |
as the reverse shot of this pick-up proves. | 0:46:18 | 0:46:21 | |
Warning - this vehicle is literally reversing. | 0:46:21 | 0:46:24 | |
Make sure your daddy knows the gravity of this deal. | 0:46:24 | 0:46:27 | |
In the unflinching crime movie, The Town, | 0:46:30 | 0:46:33 | |
the bank robbers are forced to drive around the block | 0:46:33 | 0:46:36 | |
as they wait for their plan to fall into place. | 0:46:36 | 0:46:39 | |
But the second time they drive up the same road, | 0:46:42 | 0:46:45 | |
all of the parked cars are different. | 0:46:45 | 0:46:48 | |
How long did it take them to drive around the block? | 0:46:48 | 0:46:50 | |
Mind you, you know how bad traffic can get in Town. | 0:46:50 | 0:46:54 | |
And now, more movie storyline flaws are reviewed and laid bare in... | 0:46:56 | 0:46:59 | |
In the hard-edged, pacy sci-fi thriller, District 9, | 0:47:01 | 0:47:04 | |
crashed ali-ons are stranded in Johannesburg and are forced | 0:47:04 | 0:47:07 | |
to live as second-class citizens in a ghetto | 0:47:07 | 0:47:10 | |
policed by a big corporation and Nigerian gangsters who sell them cat food | 0:47:10 | 0:47:14 | |
What everyone wants is the ali-ons' incredible superguns | 0:47:14 | 0:47:17 | |
that can fire pigs and that. | 0:47:17 | 0:47:19 | |
Hang on, incredible superguns? | 0:47:19 | 0:47:22 | |
Red alert, those with massively superior weaponry | 0:47:22 | 0:47:26 | |
don't tend to stay second-class citizens | 0:47:26 | 0:47:28 | |
for much longer than it takes them to get their massively superior weaponry out. | 0:47:28 | 0:47:33 | |
Tell you what, I'm getting a bit fed up with being oppressed. | 0:47:33 | 0:47:36 | |
Too right, I mean there's only so much of this us ali-ons can take. | 0:47:36 | 0:47:41 | |
You know, after 28 years of relentless abuse | 0:47:41 | 0:47:44 | |
and slum-dwelling, | 0:47:44 | 0:47:45 | |
I'm almost tempted to get the incredible superguns | 0:47:45 | 0:47:48 | |
that only us ali-ons can use, and show these humans who's boss. | 0:47:48 | 0:47:53 | |
On the other hand, cat food... | 0:47:57 | 0:47:59 | |
Yup, yup, the cat food is nice and even with our ali-on ability | 0:47:59 | 0:48:04 | |
to build superior weaponry and gigantic spacecraft | 0:48:04 | 0:48:07 | |
that can hover powerlessly in the sky for decades, | 0:48:07 | 0:48:09 | |
there's no guarantee that we'd be any good at making cat food. | 0:48:09 | 0:48:13 | |
Yes, might as well sit tight and wait for the white man | 0:48:13 | 0:48:16 | |
with the pretty arm to help us. | 0:48:16 | 0:48:19 | |
Yeah. | 0:48:19 | 0:48:20 | |
More Whiskas? | 0:48:21 | 0:48:23 | |
Technology plays an increasingly vital role in the movies. | 0:48:26 | 0:48:29 | |
Without mobile phones there'd be no Matrix, | 0:48:29 | 0:48:32 | |
without computers there'd be no Tron | 0:48:32 | 0:48:34 | |
and without the internet I wouldn't have illegally downloaded either of those. | 0:48:34 | 0:48:38 | |
That's a joke, I don't approve of law-breaking! | 0:48:38 | 0:48:41 | |
Phone, fax, Facebook, Google Plus, Twitter, iPhone, Blackberry, | 0:48:41 | 0:48:44 | |
e-mail, instant messenger - | 0:48:44 | 0:48:45 | |
it's great to have so many different ways to find out that no-one wants to talk to you. | 0:48:45 | 0:48:49 | |
Despite there being a whole film about Facebook, | 0:48:49 | 0:48:52 | |
you don't see a lot of social networking sites in movies. | 0:48:52 | 0:48:55 | |
Harry is now friends with Sally. | 0:48:55 | 0:48:57 | |
Mr and Mrs Smith went from "married" to "it's complicated". | 0:48:57 | 0:49:00 | |
I suppose it's lucky really. | 0:49:00 | 0:49:02 | |
You don't want all your friends finding out you've been poked by Charlie Sheen. | 0:49:02 | 0:49:07 | |
A clip from Buried - the taut thriller about a man | 0:49:09 | 0:49:13 | |
buried alive with nothing but a mobile phone. | 0:49:13 | 0:49:16 | |
The scariest part is that he doesn't even know how to use his mobile... | 0:49:16 | 0:49:21 | |
See? It's upside down! | 0:49:21 | 0:49:24 | |
It's clearly been turning in his grave. | 0:49:24 | 0:49:26 | |
In sombre movie Hereafter, Marcus watches some YouTube clips. | 0:49:33 | 0:49:37 | |
But see the information under the person talking? | 0:49:37 | 0:49:41 | |
When he clicks on the second clip, | 0:49:41 | 0:49:43 | |
it has the exact same amount of views and information! | 0:49:43 | 0:49:46 | |
Perhaps it took 259,042 takes to do the scene. | 0:49:47 | 0:49:51 | |
If you believe in Christ you have nothing to fear. | 0:49:51 | 0:49:55 | |
Now the misfire that is Gulliver's Travels. | 0:49:58 | 0:50:02 | |
No signal, but I got 12 messages - Mr Popularity! | 0:50:02 | 0:50:06 | |
No signal? But you can't check messages without a signal. | 0:50:06 | 0:50:10 | |
I wonder if Jonathan Swift knew he'd made a massive error | 0:50:10 | 0:50:14 | |
when he wrote this in 1726? | 0:50:14 | 0:50:16 | |
Now it's the highly implausible film Unknown. | 0:50:20 | 0:50:22 | |
MOBILE BEEPS | 0:50:22 | 0:50:24 | |
In this clip, Liam Neeson gets a text from 2010, | 0:50:24 | 0:50:28 | |
even though the film is set in 2011. | 0:50:28 | 0:50:31 | |
I'd change your service provider if I were you, Liam. | 0:50:31 | 0:50:35 | |
Still on Unknown | 0:50:37 | 0:50:38 | |
and now Liam's wife is trying to get into a password-protected file. | 0:50:38 | 0:50:43 | |
She's figured out the password, clever lady, | 0:50:43 | 0:50:47 | |
but if she'd looked a little harder she'd have seen | 0:50:47 | 0:50:49 | |
that the password's accepted before she's typed it in! | 0:50:49 | 0:50:53 | |
I'm personally not going to accept this error... | 0:50:53 | 0:50:56 | |
Oh, go on then. | 0:50:58 | 0:50:59 | |
Creaky suspense from Scream 4 | 0:51:01 | 0:51:02 | |
where Neve Campbell is clearly told by Hayden Panettiere | 0:51:02 | 0:51:06 | |
that the landline's down and someone's smashed the router. | 0:51:06 | 0:51:09 | |
I tried to call 911 but the landline's dead and someone's smashed the router. | 0:51:09 | 0:51:13 | |
-I think I got through on my cell. -OK, where's Jill? | 0:51:13 | 0:51:15 | |
However, a bit later on, | 0:51:17 | 0:51:19 | |
when she whips out her phone, we see that the WiFi signal is on. | 0:51:19 | 0:51:23 | |
Perhaps someone was WiFired for that blunder? | 0:51:23 | 0:51:27 | |
Tell Sydney heads are going to roll tonight! | 0:51:27 | 0:51:29 | |
The laws of time are disregarded | 0:51:31 | 0:51:34 | |
in the high-octane but routine Unstoppable. | 0:51:34 | 0:51:37 | |
Here, Chris Pine has a picture of his beautiful wife on his phone. | 0:51:37 | 0:51:42 | |
Debt of gratitude, blah, blah, blah | 0:51:42 | 0:51:44 | |
But at the press conference at the end of the film, | 0:51:44 | 0:51:47 | |
we see a shot of his beautiful wife that's exactly the same picture. | 0:51:47 | 0:51:51 | |
See? Unstoppable? That's unacceptable. | 0:51:51 | 0:51:54 | |
Out of all last year's films, | 0:51:56 | 0:51:58 | |
we think this next film had the moist mistakes. | 0:51:58 | 0:52:00 | |
Did I say moist? | 0:52:00 | 0:52:02 | |
Out of all of last year's films, | 0:52:02 | 0:52:04 | |
we think this next mistake had the most mistakes... | 0:52:04 | 0:52:08 | |
Out of all of last year's films, we think this nest film... | 0:52:08 | 0:52:11 | |
Nest? | 0:52:11 | 0:52:12 | |
Out of all the films, | 0:52:12 | 0:52:14 | |
we think this next one had the most mistakes, of last year. | 0:52:14 | 0:52:19 | |
Out of all of last year's mistakes, this was the most. | 0:52:19 | 0:52:23 | |
Out of all of last year's films, | 0:52:23 | 0:52:25 | |
we think this next film had the most mistakes. YES! | 0:52:25 | 0:52:28 | |
Sorry, without the yes. | 0:52:28 | 0:52:30 | |
And the film we found the most mistakes in this year | 0:52:32 | 0:52:35 | |
was the very underwhelming and disappointing | 0:52:35 | 0:52:37 | |
The Green Hornet remake. | 0:52:37 | 0:52:39 | |
Let's count them up! | 0:52:39 | 0:52:40 | |
Good morning. | 0:52:40 | 0:52:41 | |
Keep staring at the attractive lady lying in the bed, | 0:52:41 | 0:52:45 | |
as one minute she's all covered up, | 0:52:45 | 0:52:48 | |
then the duvet comes down and we see her bra! | 0:52:48 | 0:52:50 | |
Then it goes up... | 0:52:50 | 0:52:52 | |
and down | 0:52:52 | 0:52:54 | |
and up and down for the rest of the scene. | 0:52:54 | 0:52:58 | |
Of course, I watched this clip several times | 0:52:58 | 0:53:00 | |
just to be sure of the mistake. | 0:53:00 | 0:53:02 | |
Two mistakes for the price of one in this car chase. | 0:53:05 | 0:53:10 | |
The offside headlight gets knocked out by The Hornet's car... | 0:53:10 | 0:53:13 | |
Oh, no. | 0:53:15 | 0:53:17 | |
..but as the car flips over, it's all fixed again! | 0:53:17 | 0:53:20 | |
Then the car careers forwards, | 0:53:23 | 0:53:26 | |
but slams through the window backwards. | 0:53:26 | 0:53:28 | |
Proof indeed that two wrongs don't make a right... | 0:53:28 | 0:53:32 | |
They make a right clanger. | 0:53:32 | 0:53:33 | |
This is the greatest moment of my life. | 0:53:33 | 0:53:35 | |
She's completely un-nailable. | 0:53:37 | 0:53:38 | |
It's a terrible fact, I don't know what to do. | 0:53:38 | 0:53:41 | |
In this clip, Kato drives very straight | 0:53:41 | 0:53:43 | |
down a very straight road, but look how erratically he steers! | 0:53:43 | 0:53:48 | |
This film's proving to have more gaffs than a dodgy council estate... | 0:53:48 | 0:53:51 | |
And here's three more whoppers. | 0:53:54 | 0:53:58 | |
Watch this weapon as it disappears quicker than director | 0:53:58 | 0:54:00 | |
Michel Gondry's credibility. | 0:54:00 | 0:54:03 | |
Ta-da! | 0:54:04 | 0:54:06 | |
But now just watch Mr Beach Ball sat proudly on his chair. | 0:54:11 | 0:54:16 | |
Ooh, now he's off... | 0:54:16 | 0:54:19 | |
Maybe he's trying to escape from this movie, I wouldn't blame him. | 0:54:19 | 0:54:22 | |
I mean, he may have a better offer. | 0:54:22 | 0:54:24 | |
There's probably a volleyball tournament he could be starring in. | 0:54:24 | 0:54:28 | |
That would be nice. | 0:54:28 | 0:54:30 | |
Oh, no, he's back. | 0:54:30 | 0:54:32 | |
Mr Beach Ball, I'd have a word with your agent. | 0:54:32 | 0:54:35 | |
You're better than this. | 0:54:35 | 0:54:37 | |
Get off my property! | 0:54:37 | 0:54:39 | |
In this scene, look at the tree in the background. | 0:54:42 | 0:54:46 | |
What are you doing up here? All the guys are waiting. | 0:54:46 | 0:54:48 | |
Popeye walks far past it... and now he's right next to it. | 0:54:48 | 0:54:53 | |
Maybe Mr Tree's after more screen time. | 0:54:53 | 0:54:55 | |
We'll never know. | 0:54:55 | 0:54:57 | |
Last one. | 0:54:59 | 0:55:01 | |
The gas mask is clearly on Chudnofsky's forehead | 0:55:01 | 0:55:04 | |
as he fights Kato. | 0:55:04 | 0:55:06 | |
..or be it your blood, red will be the last colour... | 0:55:06 | 0:55:08 | |
Then, suddenly, it's entirely on his face... | 0:55:13 | 0:55:17 | |
I'd keep it on if I were you. | 0:55:19 | 0:55:22 | |
With nine solid goofs, this film's a bit of a stinker. | 0:55:22 | 0:55:25 | |
Well, that's all the time we have left for Great Movie Mistakes III. | 0:55:27 | 0:55:31 | |
All that remains is for us to show you | 0:55:31 | 0:55:33 | |
some of the mistakes that we've spotted in our own show. | 0:55:33 | 0:55:36 | |
For example: | 0:55:36 | 0:55:37 | |
Technology plays an increasingly vital role in the movies... | 0:55:37 | 0:55:41 | |
'Did you notice that in this clip | 0:55:41 | 0:55:43 | |
'there was a silver warrior robot in shot?' | 0:55:43 | 0:55:45 | |
I always say the key to a successful double act... | 0:55:49 | 0:55:52 | |
'This link looks fairly uneventful | 0:55:52 | 0:55:54 | |
'but let's see that again.' | 0:55:54 | 0:55:56 | |
I always say, the key to having a successful double act... | 0:55:57 | 0:56:00 | |
'You can clearly see they've used a stunt Robert for this scene.' | 0:56:00 | 0:56:04 | |
But the worst mistake of the show has to be | 0:56:04 | 0:56:07 | |
forgetting to write a proper ending. | 0:56:07 | 0:56:09 | |
So, um, bye, I guess. | 0:56:09 | 0:56:14 | |
That's it. | 0:56:14 | 0:56:15 | |
But stick around, there's probably some show about pregnant teens next. | 0:56:15 | 0:56:19 | |
Subtitles by Red Bee Media | 0:56:37 | 0:56:40 | |
Email [email protected] | 0:56:40 | 0:56:43 |