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Technology plays an increasingly vital role in the movies. | 0:00:26 | 0:00:30 | |
Without mobile phones there'd be no Matrix, | 0:00:30 | 0:00:32 | |
without computers there'd be no Tron, | 0:00:32 | 0:00:35 | |
and without the internet | 0:00:35 | 0:00:36 | |
I wouldn't have illegally downloaded either of those. | 0:00:36 | 0:00:39 | |
That's a joke, I don't approve of law-breaking! | 0:00:39 | 0:00:41 | |
Phone, fax, Facebook, Google Plus, Twitter, iPhone, Blackberry, | 0:00:41 | 0:00:44 | |
email, instant messenger - | 0:00:44 | 0:00:46 | |
it's great to have so many different ways | 0:00:46 | 0:00:48 | |
to find out that no-one wants to talk to you. | 0:00:48 | 0:00:50 | |
Despite there being a whole film about Facebook, | 0:00:50 | 0:00:52 | |
you don't see a lot of social networking sites in movies. | 0:00:52 | 0:00:55 | |
Harry is now "friends" with Sally. | 0:00:55 | 0:00:57 | |
Mr and Mrs Smith went from "married" to "it's complicated". | 0:00:57 | 0:01:00 | |
I suppose it's lucky, really. | 0:01:00 | 0:01:02 | |
You don't want all your friends finding out | 0:01:02 | 0:01:04 | |
you've been poked by Charlie Sheen. | 0:01:04 | 0:01:07 | |
A clip from Buried - | 0:01:10 | 0:01:12 | |
the taut thriller about a man buried alive | 0:01:12 | 0:01:14 | |
with nothing but a mobile phone. | 0:01:14 | 0:01:16 | |
The scariest part is that he doesn't even know how to use his mobile... | 0:01:16 | 0:01:22 | |
See? It's upside down! | 0:01:22 | 0:01:24 | |
It's clearly been turning in his grave. | 0:01:24 | 0:01:26 | |
In sombre movie Hereafter, Marcus watches some YouTube clips. | 0:01:32 | 0:01:36 | |
But see the information under the person talking? | 0:01:36 | 0:01:40 | |
When he clicks on the second clip, | 0:01:40 | 0:01:43 | |
it has the exact same amount of views and information! | 0:01:43 | 0:01:46 | |
Perhaps it took over 259,000 takes to do the scene? | 0:01:46 | 0:01:50 | |
If you believe in Christ you have nothing to fear. | 0:01:50 | 0:01:55 | |
Now the misfire that is Gulliver's Travels. | 0:01:59 | 0:02:01 | |
No signal, but I got 12 messages - Mr Popularity! | 0:02:01 | 0:02:05 | |
No signal? But you can't check messages without a signal. | 0:02:05 | 0:02:10 | |
I wonder if Jonathan Swift knew he'd made a massive error | 0:02:10 | 0:02:14 | |
when he wrote this in 1726? | 0:02:14 | 0:02:16 | |
Now it's the highly implausible film Unknown. | 0:02:20 | 0:02:22 | |
MOBILE BEEPS | 0:02:22 | 0:02:24 | |
In this clip, Liam Neeson gets a text from 2010, | 0:02:24 | 0:02:28 | |
even though the film is set in 2011. | 0:02:28 | 0:02:31 | |
I'd change your service provider if I were you, Liam. | 0:02:31 | 0:02:35 | |
Still on Unknown | 0:02:37 | 0:02:39 | |
and now Liam's wife is trying to get into a password-protected file. | 0:02:39 | 0:02:43 | |
She's figured out the password, clever lady, | 0:02:43 | 0:02:47 | |
but if she'd looked a little harder | 0:02:47 | 0:02:49 | |
she'd have seen that the password's accepted before she's typed it in! | 0:02:49 | 0:02:52 | |
I'm personally not going to accept this error... | 0:02:53 | 0:02:56 | |
Oh, go on, then. | 0:02:58 | 0:02:59 | |
Creaky suspense from Scream 4 | 0:03:01 | 0:03:03 | |
where Neve Campbell is clearly told by Hayden Panettiere | 0:03:03 | 0:03:06 | |
that the landline's down and someone's smashed the router. | 0:03:06 | 0:03:09 | |
I tried to call 911 but the landline's dead | 0:03:09 | 0:03:11 | |
and someone's smashed the router. | 0:03:11 | 0:03:13 | |
-I think I got through on my cell. -OK, where's Jill? | 0:03:13 | 0:03:15 | |
However, a bit later on, | 0:03:17 | 0:03:19 | |
when she whips out her phone, we see that the WiFi signal is on. | 0:03:19 | 0:03:23 | |
Perhaps someone was Wi-Fired for that blunder?! | 0:03:23 | 0:03:27 | |
Tell Sydney heads are going to roll tonight! | 0:03:27 | 0:03:29 | |
The laws of time are disregarded | 0:03:31 | 0:03:34 | |
in the high-octane but routine Unstoppable. | 0:03:34 | 0:03:37 | |
Here, Chris Pine has a picture of his beautiful wife on his phone. | 0:03:37 | 0:03:42 | |
Debt of gratitude, blah, blah, blah. | 0:03:42 | 0:03:44 | |
But at the press conference at the end of the film, | 0:03:44 | 0:03:47 | |
we see a shot of his beautiful wife that's exactly the same picture. | 0:03:47 | 0:03:51 | |
See? Unstoppable? That's unacceptable. | 0:03:51 | 0:03:55 | |
And now, major movie storyline faults | 0:03:57 | 0:03:59 | |
are reviewed and exposed | 0:03:59 | 0:04:01 | |
in Great Plothole Mistakes. | 0:04:01 | 0:04:03 | |
In the spooky and surprising Sixth Sense, | 0:04:03 | 0:04:07 | |
Bruce Willis plays Dr Malcolm Crowe, | 0:04:07 | 0:04:08 | |
a child psychologist who gets shot by a former patient | 0:04:08 | 0:04:11 | |
and, ten months later, befriends a troubled young boy | 0:04:11 | 0:04:14 | |
who can see dead people. | 0:04:14 | 0:04:16 | |
One of whom, it turns out, is Dr Crowe, raising the question | 0:04:16 | 0:04:20 | |
how good a doctor is he that it took him ten months | 0:04:20 | 0:04:22 | |
to diagnose his own death? | 0:04:22 | 0:04:24 | |
Surely there were clues. | 0:04:24 | 0:04:25 | |
Like his wife crying into her dinner, for one. | 0:04:28 | 0:04:30 | |
Or when she went to a funeral he wasn't invited to. | 0:04:30 | 0:04:33 | |
Or when she took up starfishing in bed. | 0:04:33 | 0:04:36 | |
And then there must have been his sudden lack of bar presence, | 0:04:36 | 0:04:40 | |
and having his phone cut off and not needing the toilet. | 0:04:40 | 0:04:44 | |
And being able to go to the flicks without paying. | 0:04:46 | 0:04:49 | |
And even if his unrequited sexual advances towards his wife | 0:04:50 | 0:04:54 | |
were nothing new, surely when she made the bed with him still in it | 0:04:54 | 0:04:59 | |
he must have wondered what the blazes was afoot. | 0:04:59 | 0:05:01 | |
"Sorry, I'm still here." | 0:05:01 | 0:05:04 | |
You stole the distinctive autumnal tones of my seminal movie. | 0:05:04 | 0:05:08 | |
Be gone! | 0:05:08 | 0:05:10 | |
Sure, horror movies are scary, | 0:05:12 | 0:05:14 | |
but are they scarier than things that happen in real life? | 0:05:14 | 0:05:17 | |
I've yet to see anything in a horror film | 0:05:17 | 0:05:19 | |
that makes me jump more than when you wake up | 0:05:19 | 0:05:21 | |
and find you've slept through an alarm. | 0:05:21 | 0:05:23 | |
Sure, bad things happen to people in the Saw films, | 0:05:23 | 0:05:26 | |
but nothing as bad as accidentally calling your girlfriend | 0:05:26 | 0:05:28 | |
by your ex-girlfriend's name. | 0:05:28 | 0:05:30 | |
Now that is terrifying. I love watching horror films, | 0:05:30 | 0:05:33 | |
but the atmosphere's got to be just right. | 0:05:33 | 0:05:35 | |
What I do is I light some candles and place them around the room | 0:05:35 | 0:05:38 | |
then put on some scary music before it starts, to get in the mood. | 0:05:38 | 0:05:42 | |
I pull the duvet over my head and then I'm thrown out of the cinema. | 0:05:42 | 0:05:46 | |
It's the flat and pointless remake of I Spit On Your Grave. | 0:05:48 | 0:05:52 | |
Watch this video tape, because it keeps changing position. | 0:05:52 | 0:05:56 | |
To my what? | 0:05:58 | 0:05:59 | |
This scene reminds me of my dad trying to work the video. | 0:05:59 | 0:06:03 | |
-Dad, you've put it the wrong way round. -What's on the tape? | 0:06:03 | 0:06:08 | |
-Is this some kind of -BLEEP -up joke? I'll smash the damn thing myself. | 0:06:08 | 0:06:11 | |
Dad, not that way either. | 0:06:11 | 0:06:13 | |
Any second, I expect this film to be wiped over with the snooker. | 0:06:13 | 0:06:18 | |
This is a shot he plays well. | 0:06:18 | 0:06:20 | |
Case 39 creates a sense of menace and unease right from the start. | 0:06:24 | 0:06:28 | |
Don't believe me? Look at Renee Zellweger's car window. | 0:06:28 | 0:06:32 | |
First it's down. | 0:06:32 | 0:06:35 | |
Then it's up. | 0:06:35 | 0:06:37 | |
What malevolent force could be at work here? | 0:06:37 | 0:06:40 | |
The force of not-paying-attention, I wager. Hmm? | 0:06:40 | 0:06:44 | |
Another cock-up from case 39. Watch the knife as she takes it out. | 0:06:47 | 0:06:52 | |
In a second shot, it's much bigger. | 0:06:54 | 0:06:57 | |
Watch again. | 0:06:59 | 0:07:01 | |
Little knife... | 0:07:01 | 0:07:03 | |
Big knife! | 0:07:04 | 0:07:06 | |
Maybe when she first took it out it was just a bit cold. | 0:07:06 | 0:07:10 | |
Final clip from Case 39, and here we see a shape-shifting house. | 0:07:12 | 0:07:17 | |
Take a look at the corridor to her left. | 0:07:17 | 0:07:19 | |
Now it's a door. | 0:07:24 | 0:07:26 | |
And now the door is open. | 0:07:28 | 0:07:31 | |
I don't know whether to call an exorcist or Colin and Justin. | 0:07:32 | 0:07:37 | |
Honey, where are you? | 0:07:39 | 0:07:41 | |
Low-budget and low-rent Insidious now, | 0:07:41 | 0:07:43 | |
starring a rather casual Patrick Wilson, with his shirt open. | 0:07:43 | 0:07:47 | |
Something's wrong. Quick, Patrick! Quicker! | 0:07:48 | 0:07:51 | |
BOY SCREAMS | 0:07:51 | 0:07:53 | |
Oh, you're finally here. Where have you been? | 0:07:53 | 0:07:57 | |
Oh, busy putting a tie on, | 0:07:57 | 0:07:59 | |
to look all smart for your distressed hysterical son. | 0:07:59 | 0:08:02 | |
-How thoughtful. -Are you OK? | 0:08:02 | 0:08:04 | |
And now, Patrick's investigating the ghostly noise outside. | 0:08:06 | 0:08:11 | |
But, the porch light bulb's just gone. Nightmare! | 0:08:11 | 0:08:15 | |
Well, maybe the ghost will change it. | 0:08:17 | 0:08:20 | |
Oh, he did! | 0:08:20 | 0:08:22 | |
I don't trust ghosts, you can see right through them. | 0:08:22 | 0:08:26 | |
Things are getting really scary in Insidious now. | 0:08:28 | 0:08:32 | |
Patrick's approaching the red door. | 0:08:32 | 0:08:35 | |
Look at all that smoke. Where's it all coming from? | 0:08:35 | 0:08:38 | |
Oh, the smoke machine in the corner. | 0:08:41 | 0:08:44 | |
Subtitles by Red Bee Media | 0:08:44 | 0:08:46 |