Browse content similar to Episode 3. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Bad luck, movie makers, it's us again. | 0:00:46 | 0:00:48 | |
This is the show that takes out its geeky monocle | 0:00:48 | 0:00:51 | |
and scrutinises your puny human efforts. | 0:00:51 | 0:00:53 | |
We'll pore over every frame to find your boobs... | 0:00:53 | 0:00:58 | |
Yeah. Can we have another go? | 0:00:58 | 0:01:00 | |
I'm not sure, "find your boobs," is quite right. Thanks. | 0:01:00 | 0:01:04 | |
-'Action!' -Where was I? | 0:01:04 | 0:01:06 | |
Ah, yes. | 0:01:06 | 0:01:07 | |
This may look to you like a renovated church, | 0:01:07 | 0:01:10 | |
but, in fact, it's a nerve hub. | 0:01:10 | 0:01:11 | |
It's a nucleus - an offshoot of the Matrix. | 0:01:11 | 0:01:14 | |
Well, all right, it is a renovated church | 0:01:14 | 0:01:16 | |
but just off camera, in the crypt, is a team of pale-faced, muttering, | 0:01:16 | 0:01:20 | |
gibbering, almost subhuman creatures that we call our researchers. | 0:01:20 | 0:01:25 | |
They've taken dedication to the point of actual mania. | 0:01:25 | 0:01:27 | |
They're now unable even to go for a cup of coffee | 0:01:27 | 0:01:30 | |
without going up to complete strangers and shouting, | 0:01:30 | 0:01:33 | |
"You were holding that cup in the other hand five minutes ago, | 0:01:33 | 0:01:36 | |
"you LOSER!" | 0:01:36 | 0:01:37 | |
Either that or they're just looking at Facebook | 0:01:37 | 0:01:39 | |
and cutting and pasting from IMDB, but it's probably the first one. | 0:01:39 | 0:01:44 | |
On tonight's show... | 0:01:44 | 0:01:45 | |
So, on with the show. | 0:01:57 | 0:01:59 | |
Now, if you're anything like me, | 0:01:59 | 0:02:01 | |
you've been transported inside the software world | 0:02:01 | 0:02:04 | |
of a mainframe computer where you have to offer up | 0:02:04 | 0:02:06 | |
astonishing movie blunders in an attempt to get back out. | 0:02:06 | 0:02:09 | |
But you're not like me at all - quite the opposite. | 0:02:09 | 0:02:11 | |
I'm on the television and you're poised over Twitter | 0:02:11 | 0:02:13 | |
ready to be all cross at me for doing another clip show - | 0:02:13 | 0:02:16 | |
to which I can only reply, "Welcome to Great Movie Mistakes four!" | 0:02:16 | 0:02:20 | |
And by the way - only one of us gets to ride that incredible Laser Bike. | 0:02:20 | 0:02:24 | |
Hashtag it's me. | 0:02:24 | 0:02:26 | |
Let's look at our first batch of Hollywood howlers. | 0:02:27 | 0:02:30 | |
I want what you owe me... | 0:02:32 | 0:02:33 | |
Here's The Dark Knight Rises - | 0:02:33 | 0:02:35 | |
big-scale thrills but a huge, preposterous letdown. | 0:02:35 | 0:02:38 | |
-Nice outfit. Those heels make it tough to walk? -I don't know. | 0:02:38 | 0:02:43 | |
Good question, though, as only moments later we get the answer. | 0:02:43 | 0:02:48 | |
They're clearly retractable heels that disappear | 0:02:50 | 0:02:52 | |
when running and brawling's on the cards. | 0:02:52 | 0:02:55 | |
Could Bruce Wayne of stately Wayne Manor be a benefits cheat? | 0:02:59 | 0:03:03 | |
Consider this evidence. | 0:03:03 | 0:03:04 | |
Here he's having a chat with Mr Fox... | 0:03:04 | 0:03:07 | |
If you filed your entire RNB budget into a fusion project... | 0:03:07 | 0:03:10 | |
..but as soon as he realises the cameras are on him | 0:03:10 | 0:03:13 | |
a walking stick suddenly appears. | 0:03:13 | 0:03:16 | |
Next year expect to see him break dancing | 0:03:16 | 0:03:18 | |
on Britain's Got Talent. | 0:03:18 | 0:03:19 | |
I can't. I can't, Lucius. | 0:03:19 | 0:03:21 | |
Fighting and chaos reigns in Gotham City | 0:03:24 | 0:03:26 | |
and the smell of testosterone is high | 0:03:26 | 0:03:29 | |
but one man seems more lavender-scented... | 0:03:29 | 0:03:32 | |
did you see him? Rewind! | 0:03:32 | 0:03:34 | |
This chap's fighting nobody at all! | 0:03:36 | 0:03:39 | |
Listen, matey, you're only supposed to punch the air | 0:03:39 | 0:03:41 | |
when you win a fight. | 0:03:41 | 0:03:43 | |
Glossy and entertaining as The Hunger Games was, | 0:03:46 | 0:03:49 | |
it left many fans disappointed - and is this why? | 0:03:49 | 0:03:52 | |
Look at the flowers being thrown at the parading chariots. | 0:03:52 | 0:03:55 | |
We will not be overlooked. Now, I LOVE that! | 0:03:55 | 0:03:58 | |
Now look at the roadway - completely clear. | 0:04:01 | 0:04:03 | |
No wonder everyone's so hungry if all their vegetation self-destructs. | 0:04:03 | 0:04:07 | |
Politically thrilling political thriller The Ides Of March | 0:04:11 | 0:04:14 | |
has Philip Seymour Hoffman visiting a pretend barber | 0:04:14 | 0:04:16 | |
who pretends to cut his hair. | 0:04:16 | 0:04:19 | |
I mean, it looks like a nice close cut but where are all the clippings? | 0:04:19 | 0:04:23 | |
Nothing's actually been cut off. | 0:04:23 | 0:04:25 | |
Ah, ready to face the world with a fresh new non-haircut. | 0:04:26 | 0:04:30 | |
Lacklustre and rushed - it's the not-so-Amazing Spider-Man | 0:04:34 | 0:04:37 | |
where Peter and The Lizard are having a dust-up. | 0:04:37 | 0:04:41 | |
And boy, does Peter get dusted up! | 0:04:41 | 0:04:43 | |
Though realising that he'll upset Aunt May, | 0:04:44 | 0:04:47 | |
he quickly cleans himself up again - a bit. | 0:04:47 | 0:04:49 | |
Gwen, I worry if Peter's the right guy for you. | 0:04:55 | 0:04:58 | |
When you chat, although you may think you've got his attention | 0:04:58 | 0:05:01 | |
with his earphones out... | 0:05:01 | 0:05:02 | |
-Oh, it's Thursday. -It's Thursday? -What happens to your eye? | 0:05:02 | 0:05:06 | |
..he's only half-listening as his right earphone springs back in. | 0:05:06 | 0:05:10 | |
No, love, the right ear! | 0:05:10 | 0:05:12 | |
-Hey. -What do we have here? A concealed weapon? | 0:05:15 | 0:05:17 | |
Hey, it's his grandmother's suit! | 0:05:17 | 0:05:19 | |
Now this a blatant mistake from the fairly good, | 0:05:19 | 0:05:21 | |
reasonably fun Men In Black III. | 0:05:21 | 0:05:24 | |
..before you press that... | 0:05:24 | 0:05:25 | |
I'll leave it to you to work out what the error is. | 0:05:25 | 0:05:27 | |
If you can't get it, | 0:05:27 | 0:05:28 | |
you probably need some suddenly-appearing glasses. | 0:05:28 | 0:05:31 | |
Ah, that's a giveaway. | 0:05:31 | 0:05:33 | |
..is a standard issue Neuralyzer. | 0:05:33 | 0:05:35 | |
In this scene from the surprisingly tense, watch-through-your-fingers, | 0:05:38 | 0:05:41 | |
Woman in Black, Harry Potter's brought a magic dog with him, | 0:05:41 | 0:05:44 | |
from Hogwarts. | 0:05:44 | 0:05:46 | |
There he is overtaking the dog... | 0:05:46 | 0:05:48 | |
and now suddenly the dog's in front of him again. | 0:05:48 | 0:05:51 | |
It's probably some sort of spell. | 0:05:52 | 0:05:55 | |
"Teleportio!", or something. | 0:05:55 | 0:05:57 | |
Now we come to the mistakes, which are so asinine, so dumb, | 0:05:58 | 0:06:02 | |
so daft, so idiotic, so brainless, so thick, so inept | 0:06:02 | 0:06:06 | |
and just so plain stupid they get a whole category to themselves. | 0:06:06 | 0:06:10 | |
'Cut!' | 0:06:11 | 0:06:13 | |
What? That was perfect. I'm not doing it again. That was fine. | 0:06:13 | 0:06:17 | |
How to completely sell-out a joke - | 0:06:17 | 0:06:19 | |
basically, what you do, is have a funny idea, | 0:06:19 | 0:06:21 | |
like these commune people in the utterly standard Wanderlust, | 0:06:21 | 0:06:24 | |
making a feature of never clapping but finger-rubbing. | 0:06:24 | 0:06:27 | |
This is much less aggressive than clapping. | 0:06:27 | 0:06:30 | |
Try it. Try it. Seriously, it's better. | 0:06:30 | 0:06:33 | |
Two, three... | 0:06:33 | 0:06:34 | |
Then, later on, have the exact same people clap like us normal folk. | 0:06:34 | 0:06:38 | |
That's one joke that won't be bothering anyone again! | 0:06:38 | 0:06:41 | |
Marginally diverting Man On A Ledge next, | 0:06:45 | 0:06:48 | |
and in this clip, Man not-yet-on-a-ledge | 0:06:48 | 0:06:50 | |
is being very careful to remove his fingerprints | 0:06:50 | 0:06:53 | |
from everything he touches. | 0:06:53 | 0:06:54 | |
Oh, except the window he's going to open with his bare fingerprinty, | 0:06:54 | 0:06:57 | |
made-of-clue hands. | 0:06:57 | 0:06:59 | |
Rookie mistake. | 0:06:59 | 0:07:00 | |
Like using a Dyson Airblade then touching the toilet door | 0:07:00 | 0:07:04 | |
So where's the first place the forensics dust for prints? | 0:07:07 | 0:07:10 | |
Easy! But let's spell it out for you. | 0:07:10 | 0:07:12 | |
Oh. | 0:07:16 | 0:07:17 | |
I'm a bit nervous of using the word "headcount" | 0:07:20 | 0:07:22 | |
when one of the icky Final Destination films is concerned, | 0:07:22 | 0:07:25 | |
but listen to this... | 0:07:25 | 0:07:27 | |
Among the survivors were eight employees of Presage Paper, | 0:07:27 | 0:07:31 | |
on their way to a business retreat, | 0:07:31 | 0:07:33 | |
the other 17 employees were killed in the collapse... | 0:07:33 | 0:07:36 | |
Eight survivors and 17 dead. | 0:07:36 | 0:07:38 | |
That's 25 people. | 0:07:38 | 0:07:39 | |
So why have they only bothered here with 18 passengers plus the driver? | 0:07:41 | 0:07:45 | |
Not the sort of cuts I was expecting in this film. | 0:07:46 | 0:07:49 | |
You know in the Sound Of Music | 0:07:51 | 0:07:52 | |
where Julie Andrews is bellowing her head off on a bus | 0:07:52 | 0:07:54 | |
and none of the other passengers bats an eyelid? | 0:07:54 | 0:07:57 | |
Well, this is exactly like that, only with werewolves. | 0:07:57 | 0:08:00 | |
Anyway, there are evil hell creatures tearing cars apart... | 0:08:02 | 0:08:06 | |
but the people on the pavement stroll on taking as little notice | 0:08:06 | 0:08:09 | |
as the cinema-going public does of the Underworld films. | 0:08:09 | 0:08:12 | |
It's the better-than-expected Fright Night remake. | 0:08:15 | 0:08:18 | |
Now look at how Charlie's mum | 0:08:18 | 0:08:20 | |
protests at mowing down poor Jerry here. | 0:08:20 | 0:08:22 | |
Mom, just hit it! | 0:08:22 | 0:08:24 | |
Charlie, no! | 0:08:24 | 0:08:26 | |
Just BLEEP hit it! | 0:08:26 | 0:08:27 | |
But even though Charlie grabs the wheel, | 0:08:29 | 0:08:31 | |
it's quite obvious it's his mum with the foot on the accelerator, | 0:08:31 | 0:08:34 | |
carrying out the very thing she doesn't want to do. | 0:08:34 | 0:08:38 | |
I'm not doing a joke about women drivers. I'm just not. | 0:08:38 | 0:08:41 | |
Hey, mom. | 0:08:43 | 0:08:44 | |
Watch this for an absolute ruddy mess-up and a half, | 0:08:45 | 0:08:49 | |
in the seen-it-all-before time-travel movie, In Time. | 0:08:49 | 0:08:53 | |
Happy 50th! | 0:08:53 | 0:08:54 | |
50? That's right. | 0:08:54 | 0:08:57 | |
25 for the 25th time. | 0:08:58 | 0:09:00 | |
Did you spot it? | 0:09:01 | 0:09:02 | |
Course, 25 for the 25th time would actually be her 49th birthday. | 0:09:02 | 0:09:07 | |
..for a girlfriend... | 0:09:07 | 0:09:08 | |
Tsk. I bet the guys responsible | 0:09:08 | 0:09:10 | |
celebrated the millennium in 2000 as well, like idiots. | 0:09:10 | 0:09:14 | |
Now where's my real ale? | 0:09:14 | 0:09:15 | |
Men, eh? Won't ever listen to directions. | 0:09:19 | 0:09:21 | |
In this clip from a big waste of time called Abduction, | 0:09:21 | 0:09:24 | |
Nathan is clearly told to go to... | 0:09:24 | 0:09:27 | |
Got that, Nathan? | 0:09:32 | 0:09:34 | |
Clarendon Avenue. This is the street. | 0:09:34 | 0:09:37 | |
Avenue? It's Boulevard, for goodness' sake! | 0:09:37 | 0:09:40 | |
You get asked to do one simple thing... AND that's Apartment 202. | 0:09:40 | 0:09:45 | |
Well, this is a disas... Oh... | 0:09:45 | 0:09:47 | |
..it's the right house despite all that. | 0:09:48 | 0:09:51 | |
Lucky! | 0:09:51 | 0:09:52 | |
Whether the Earl of Oxford was actually Shakespeare | 0:09:55 | 0:09:58 | |
is still open to debate. | 0:09:58 | 0:09:59 | |
No, it isn't. He wasn't! | 0:09:59 | 0:10:00 | |
But we can all agree he was one hell of a horticulturist. | 0:10:02 | 0:10:05 | |
Here in the abominable Anonymous, | 0:10:05 | 0:10:07 | |
he presents Ben Jonson with a red and white Tudor Rose. | 0:10:07 | 0:10:11 | |
My Lord. | 0:10:11 | 0:10:12 | |
The Tudor Rose. | 0:10:12 | 0:10:13 | |
The most beautiful of flowers, do you not think? | 0:10:15 | 0:10:19 | |
Problem is, the Tudor Rose is not so much your actual flower, | 0:10:19 | 0:10:22 | |
more your totally invented heraldic symbol. | 0:10:22 | 0:10:25 | |
Hard to come by. | 0:10:25 | 0:10:26 | |
For any science fiction fans who may be watching, | 0:10:26 | 0:10:28 | |
I have prepared the following statement. | 0:10:28 | 0:10:30 | |
"Doctor Spock said, 'Beam Me Up, Scotty' | 0:10:30 | 0:10:32 | |
"and walked onto the Bridge Of The Firefly | 0:10:32 | 0:10:34 | |
"where he bumped into the character Doctor Who, | 0:10:34 | 0:10:37 | |
"who was chatting to Hans Solos | 0:10:37 | 0:10:38 | |
"about the time he was frozen in Kryptonite." | 0:10:38 | 0:10:40 | |
The sci-fi fans have probably gone away now, | 0:10:42 | 0:10:44 | |
moaning about our inaccuracies on their special internet forums, | 0:10:44 | 0:10:47 | |
so we can enjoy some mistakes in sci-fi films | 0:10:47 | 0:10:50 | |
without destroying their world. | 0:10:50 | 0:10:53 | |
The biggest problem in the old west, after cholera, | 0:10:53 | 0:10:56 | |
was how to accessorise. | 0:10:56 | 0:10:57 | |
Here's Daniel Craig in the humourless Cowboys And Aliens | 0:10:57 | 0:11:00 | |
deciding that his special alien bracelet is too heavy to ride in. | 0:11:00 | 0:11:04 | |
Now he's changed his mind and it's on again. | 0:11:09 | 0:11:12 | |
Honestly, no wonder cowboys take so long to get ready. | 0:11:12 | 0:11:15 | |
Or is that women? I always get them mixed up. | 0:11:15 | 0:11:18 | |
That's why I found Brokeback Mountain so confusing. | 0:11:18 | 0:11:22 | |
In this bar scene, James Bond's drinks are not so much | 0:11:24 | 0:11:27 | |
"shaken not stirred" as "poured not drunk". | 0:11:27 | 0:11:30 | |
Where did you get your bracelet? | 0:11:32 | 0:11:34 | |
There's something you don't know about me, lady. | 0:11:37 | 0:11:40 | |
You don't remember anything, do you? | 0:11:41 | 0:11:44 | |
What do you want? | 0:11:47 | 0:11:48 | |
He's so busy sloshing out the whisky | 0:11:49 | 0:11:51 | |
that he forgets to do the drinking it part. | 0:11:51 | 0:11:53 | |
And all without a coaster, too. | 0:11:53 | 0:11:55 | |
You do not want to see the rings on that bar. | 0:11:55 | 0:11:57 | |
Some she-actors find getting off horses unladylike, | 0:12:02 | 0:12:06 | |
so in this clip Olivia Wilde bypasses the problem | 0:12:06 | 0:12:08 | |
by simply refusing to do the middle bit. | 0:12:08 | 0:12:10 | |
"Look, I'll just stand next to it, OK?" | 0:12:12 | 0:12:14 | |
"Yes, I know I was sitting on it in the last shot. Nobody'll notice". | 0:12:16 | 0:12:20 | |
Putting the "bored" into "board game", | 0:12:23 | 0:12:25 | |
here's the horribly unsubtle Battleship. | 0:12:25 | 0:12:27 | |
Here, not only does Alex show off his pathetic robbery skills, | 0:12:27 | 0:12:30 | |
if you look at the clock on the CCTV feed, | 0:12:30 | 0:12:33 | |
he also manages to leap backwards and forward in time | 0:12:33 | 0:12:36 | |
like a rubbish Doctor Who. | 0:12:36 | 0:12:37 | |
It would seem that Commander Stone Hopper's mum | 0:12:42 | 0:12:44 | |
must've popped his gloves on idiot strings | 0:12:44 | 0:12:46 | |
as he manages to slip them on and off throughout this scene | 0:12:46 | 0:12:49 | |
with ease. | 0:12:49 | 0:12:50 | |
FOGHORN BLOWS | 0:12:50 | 0:12:53 | |
They're off now. | 0:12:56 | 0:12:57 | |
But they're back here. | 0:13:03 | 0:13:04 | |
But see how the ultrasonic attack shatters all the glass? | 0:13:06 | 0:13:09 | |
Well, maybe Mum knitted a binoculars case, | 0:13:09 | 0:13:11 | |
as these lenses are fine. | 0:13:13 | 0:13:15 | |
Thanks, Mum! | 0:13:15 | 0:13:16 | |
What the hell is this? | 0:13:16 | 0:13:18 | |
When you're under attack from a ruddy great big robot ship | 0:13:21 | 0:13:23 | |
from outer space, it's important that you have a change of pants | 0:13:23 | 0:13:26 | |
and plenty of ammunition. | 0:13:26 | 0:13:28 | |
Especially when your cannons get destroyed. | 0:13:28 | 0:13:30 | |
You all right? | 0:13:37 | 0:13:38 | |
They ain't going to sink this battleship, no way. | 0:13:38 | 0:13:40 | |
But, hey, why not just grow them back instantaneously, | 0:13:40 | 0:13:43 | |
like these guys do in the following shot? | 0:13:43 | 0:13:45 | |
Fresh water. | 0:13:47 | 0:13:49 | |
Contagion now, which is different from Outbreak because... | 0:13:49 | 0:13:52 | |
Well, because it's... Look, it just is, all right? | 0:13:52 | 0:13:54 | |
To illustrate the power of the disease, | 0:13:55 | 0:13:57 | |
here's a miserable montage of deserted cities. | 0:13:57 | 0:14:01 | |
As we know, only three things could survive a global virus. | 0:14:01 | 0:14:04 | |
Sea creatures, cockroaches, and the ruddy rush-hour traffic. | 0:14:04 | 0:14:09 | |
Charming '80s-based alien fun with Super 8 now, | 0:14:14 | 0:14:18 | |
and evidence that Hollywood really is another world. | 0:14:18 | 0:14:20 | |
When they need to move a bus, they do it with a massive chain... | 0:14:20 | 0:14:24 | |
..as you can see here, | 0:14:28 | 0:14:29 | |
whereas the rest of the earthlings look on and say, | 0:14:29 | 0:14:31 | |
"Why not just drive the bus?" | 0:14:31 | 0:14:33 | |
The real reason why kids shouldn't play with fireworks now? | 0:14:36 | 0:14:40 | |
It's a little-known fact that when anyone under the age of 18 | 0:14:40 | 0:14:42 | |
so much as holds a sparkler, like young Joe here... | 0:14:42 | 0:14:46 | |
..it will spontaneously light itself. | 0:14:49 | 0:14:51 | |
'I'll never forget that year.' | 0:14:52 | 0:14:54 | |
'I was young, I was full of hope, | 0:14:54 | 0:14:57 | |
'I was shooting Great Movie Mistakes IV.' | 0:14:57 | 0:14:59 | |
'Of course, I didn't know then what a fool I was, | 0:14:59 | 0:15:01 | |
'none of us saw what was just round the corner.' | 0:15:01 | 0:15:04 | |
'Then, one day, while I was introducing a section | 0:15:04 | 0:15:07 | |
'on biographical films, it all became clear to me.' | 0:15:07 | 0:15:10 | |
But you're not going to find out what became clear to me, | 0:15:10 | 0:15:13 | |
because like all biographical films, | 0:15:13 | 0:15:14 | |
we're going to jump straight into flashback | 0:15:14 | 0:15:17 | |
the moment it looks like getting interesting. | 0:15:17 | 0:15:19 | |
Robert! Time for your tea! It's Spangles and Angel Delight! | 0:15:19 | 0:15:23 | |
Sigmund Freud is the subject of the revealing but somewhat mediocre | 0:15:23 | 0:15:27 | |
A Dangerous Method. | 0:15:27 | 0:15:29 | |
Here, Freud is packing up his books, and is probably so busy | 0:15:29 | 0:15:32 | |
thinking about rude thoughts and mucky stuff | 0:15:32 | 0:15:34 | |
that he doesn't even notice that when he picks his book up, | 0:15:34 | 0:15:37 | |
it stays where it is. | 0:15:37 | 0:15:39 | |
..excise his father's name from the cartouches. | 0:15:39 | 0:15:41 | |
Then, suddenly, it's on his papers. | 0:15:41 | 0:15:43 | |
This was something traditionally done by all new kings | 0:15:43 | 0:15:46 | |
who didn't wish their father's name to continue to be public currency. | 0:15:46 | 0:15:49 | |
And then he puts it back on his papers to leave. | 0:15:51 | 0:15:54 | |
Now for a bit of J Edgar, the flat and dreary biopic | 0:15:58 | 0:16:01 | |
of the ex-Director of the FBI and inventor of the Dyson. | 0:16:01 | 0:16:03 | |
Look at this cereal box that Tolson puts down. | 0:16:05 | 0:16:07 | |
There's a short conversation... | 0:16:10 | 0:16:12 | |
..and as Tolson leaves, he picks up the box, | 0:16:13 | 0:16:16 | |
which now faces the other way. | 0:16:16 | 0:16:17 | |
As continuity goes, that's not g-rrrrrrrrreat. | 0:16:18 | 0:16:22 | |
Guns and God now, in the very earnest and worthy, | 0:16:26 | 0:16:29 | |
and all those sorts of words, Machine Gun Preacher. | 0:16:29 | 0:16:32 | |
Jan Leeming looks on proudly as Gerald or Gerard Butler is baptised | 0:16:32 | 0:16:38 | |
and does all kinds of face-acting. | 0:16:38 | 0:16:39 | |
Hallelujah! | 0:16:46 | 0:16:48 | |
In the name of our Lord, Jesus Christ... | 0:16:48 | 0:16:50 | |
Problem is, all his clothes are already wet. | 0:16:50 | 0:16:52 | |
He's getting born-again again. | 0:16:52 | 0:16:54 | |
The Iron Lady is in danger of rusting in this unrealistic clip. | 0:16:59 | 0:17:03 | |
Here's Margaret driving alongside the Houses of Parliament | 0:17:03 | 0:17:05 | |
on the other side of the river. | 0:17:05 | 0:17:07 | |
Except there isn't actually a road on the opposite bank, | 0:17:08 | 0:17:11 | |
so we can only conclude that her car is driving through the Thames. | 0:17:11 | 0:17:15 | |
Yes, look, definitely floating. | 0:17:15 | 0:17:17 | |
The biggest movie mistake of all, of course, is Madonna's film career. | 0:17:19 | 0:17:25 | |
In her self-directed monstrosity W.E. | 0:17:25 | 0:17:27 | |
her research into the royal family is impeccable. | 0:17:27 | 0:17:30 | |
'King George III has died, and the nation mourns.' | 0:17:32 | 0:17:36 | |
Well, George III died in 1820. She meant George V. | 0:17:36 | 0:17:39 | |
Either that or she turned over two pages | 0:17:40 | 0:17:43 | |
in the Ladybird Book Of Kings And Queens. | 0:17:43 | 0:17:45 | |
"Nothing really matters", | 0:17:48 | 0:17:50 | |
sang pop pensioner Madonna as a line in a song once. | 0:17:50 | 0:17:53 | |
And historical accuracy is one of them. | 0:17:53 | 0:17:56 | |
Wallis and Edward are papped to within an inch of their lives, | 0:17:56 | 0:17:59 | |
provoking absolute outrage in the British press. | 0:17:59 | 0:18:02 | |
In actual fact, | 0:18:02 | 0:18:03 | |
UK newspapers carefully covered up the scandal, | 0:18:03 | 0:18:06 | |
and the story wasn't reported until after Edward's abdication | 0:18:06 | 0:18:08 | |
the following December. | 0:18:08 | 0:18:10 | |
Madge would be hung up for that howler! | 0:18:11 | 0:18:15 | |
Would you look at that. | 0:18:17 | 0:18:19 | |
Me, presenting Great Movie Mistakes -1. | 0:18:19 | 0:18:21 | |
It was a prequel we made to set up some back story for the shows. | 0:18:21 | 0:18:25 | |
What makes me so keen to point out | 0:18:25 | 0:18:27 | |
sometimes quite trivial mistakes in movies, | 0:18:27 | 0:18:30 | |
why do I hate continuity errors so very much, | 0:18:30 | 0:18:33 | |
what is the big problem | 0:18:33 | 0:18:35 | |
with seeing camera equipment reflected in things. | 0:18:35 | 0:18:38 | |
Yeah, it's all here in Great Movie Mistakes -1: The Prequel. | 0:18:38 | 0:18:40 | |
Because prequels are great. | 0:18:43 | 0:18:46 | |
Effective apocalyptic thrills in Rise Of The Planet Of The Apes, | 0:18:46 | 0:18:51 | |
or should that be Disappearance Of The Bodies Of The Apes, | 0:18:51 | 0:18:54 | |
as clearly, while many of these apes are being shot at | 0:18:54 | 0:18:56 | |
and are likely to, you know, peg out... | 0:18:56 | 0:18:58 | |
..when Will later drives away | 0:19:03 | 0:19:05 | |
there's not a single dead simian to be seen. | 0:19:05 | 0:19:08 | |
Maybe this was the pre-watershed edit for Ape TV. | 0:19:10 | 0:19:12 | |
Get these people off the bridge! | 0:19:17 | 0:19:19 | |
OK, car fans, hands up who knows the difference | 0:19:19 | 0:19:21 | |
between a Nissan and a Volkswagen? | 0:19:21 | 0:19:24 | |
Don't know why you've got your hand up, Serkis. | 0:19:24 | 0:19:26 | |
One minute you're standing on a Nissan Maxima, | 0:19:28 | 0:19:30 | |
the next it's a VW Jetta. | 0:19:34 | 0:19:36 | |
Oh, well, you know what they say. | 0:19:36 | 0:19:38 | |
You pay peanuts, you get your cars mixed up. | 0:19:38 | 0:19:40 | |
Oh, take a look at these lovely gloves, | 0:19:44 | 0:19:46 | |
because for as long as costume designers | 0:19:46 | 0:19:48 | |
provide actors with gloves, actors will find ways | 0:19:48 | 0:19:51 | |
to forget whether they should be wearing them or not. | 0:19:51 | 0:19:54 | |
Isn't that right, Noomi Rapace, | 0:19:55 | 0:19:57 | |
in plot-hole-riddled shambles that is Prometheus? | 0:19:57 | 0:19:59 | |
Out now, from Prometheus Products, the all-new three-in-one flashlight! | 0:20:05 | 0:20:09 | |
Boarding an alien spaceship? Need a flashlight with three lights? | 0:20:10 | 0:20:14 | |
Not a problem, eh, Holloway? | 0:20:14 | 0:20:16 | |
More of a one-light-flashlight kind of guy? | 0:20:19 | 0:20:21 | |
With the Prometheus Three-In-One, it's easy. | 0:20:22 | 0:20:25 | |
Joan from Tenby has got hers. Buy now! | 0:20:25 | 0:20:28 | |
Prometheus was one big movie mistake, | 0:20:31 | 0:20:33 | |
compared to the original and best, Alien, but that had errors too. | 0:20:33 | 0:20:37 | |
Ignore the fact that it's 2122 | 0:20:38 | 0:20:39 | |
and they're still using Commodore VIC-20s, | 0:20:39 | 0:20:42 | |
It seems in space no-one can see you spell, | 0:20:42 | 0:20:44 | |
as Alignment has an extra "L". | 0:20:44 | 0:20:47 | |
Can I do the "it's one 'L' of a movie" joke? | 0:20:47 | 0:20:50 | |
No? Gits. | 0:20:50 | 0:20:52 | |
Parker here can never get a word in edgeways at dinner parties, | 0:20:55 | 0:20:59 | |
but this time he goes to extraordinary lengths. | 0:20:59 | 0:21:02 | |
You think he's stopped speaking? | 0:21:04 | 0:21:06 | |
No, he's still talking while smiling. Look again. | 0:21:06 | 0:21:09 | |
He could give Keith Harris a run for his money with that skill. | 0:21:18 | 0:21:20 | |
In the grim, brutal fearfest Aliens, | 0:21:25 | 0:21:27 | |
Ripley doesn't like hospital food and tries to escape. | 0:21:27 | 0:21:30 | |
But this isn't the first time she's tried it. | 0:21:30 | 0:21:32 | |
Look at those two scuff marks. | 0:21:32 | 0:21:34 | |
Oh, now just one mark. | 0:21:40 | 0:21:41 | |
Go on, Ripley, save the film for continuity's sake! | 0:21:41 | 0:21:44 | |
Both marks are back. Breathe easy, everyone! | 0:21:46 | 0:21:48 | |
Never mind those awful Aliens V Predator movies. | 0:21:55 | 0:21:58 | |
This film is a mash-up with the Bionic Man, | 0:21:58 | 0:22:00 | |
as metal mechanical parts can clearly be seen on the alien queen. | 0:22:00 | 0:22:04 | |
Can we rebuild him? Sorry, her. | 0:22:04 | 0:22:07 | |
Once I'm done here, | 0:22:17 | 0:22:18 | |
I must get a sleeping bag for the Star Wars 7 premiere queue. | 0:22:18 | 0:22:22 | |
But I shan't be buying the membranous one | 0:22:23 | 0:22:25 | |
that Ripley got from FutureMillets, | 0:22:25 | 0:22:27 | |
as while she looks snug as a bug tearing out of it, | 0:22:27 | 0:22:30 | |
if you rewind... | 0:22:30 | 0:22:31 | |
her head and legs are already out. | 0:22:32 | 0:22:34 | |
Alien: Resurrection was a letdown, an absolute joke of a film. | 0:22:36 | 0:22:39 | |
And in this joke film, the props were jokes, too. | 0:22:42 | 0:22:45 | |
See how this barbell solidly catches Ripley in the face? | 0:22:45 | 0:22:48 | |
Well, when Christie swings it about, | 0:22:54 | 0:22:56 | |
we can see it's a novelty rubber barbell | 0:22:56 | 0:22:58 | |
that bends all over the place. | 0:22:58 | 0:23:00 | |
We all love a good old classic family film like | 0:23:02 | 0:23:05 | |
Nil By Mouth, Whatever Happened To Baby Jane? or Sophie's Choice. | 0:23:05 | 0:23:09 | |
Turns out that family films in this context means | 0:23:09 | 0:23:12 | |
"films for the whole family to watch". | 0:23:12 | 0:23:14 | |
But that is not what they are. | 0:23:14 | 0:23:15 | |
Aside from a few rare exceptions, family films are for children. | 0:23:15 | 0:23:20 | |
They're not for me, and I'm part of a family, too. | 0:23:20 | 0:23:22 | |
If I wanted to watch a film with my whole family, | 0:23:22 | 0:23:24 | |
it would be Blade Runner, | 0:23:24 | 0:23:25 | |
and I can tell you right now that my two year old would hate it. | 0:23:25 | 0:23:28 | |
Particularly if it was the studio cut with the stupid voiceover. | 0:23:28 | 0:23:31 | |
Alvin And The Chipmunks: Chipwrecked, now. | 0:23:32 | 0:23:34 | |
Astoundingly, even worse than the first two. | 0:23:34 | 0:23:37 | |
Now, this is nearly all animation, right? | 0:23:37 | 0:23:39 | |
So they were pointing their cameras only at a man with a magazine. | 0:23:39 | 0:23:44 | |
So you'd have thought someone, surely would notice something. | 0:23:44 | 0:23:47 | |
And they did eventually, but way, way too late. | 0:23:50 | 0:23:53 | |
A film crew practical joke, now. | 0:23:59 | 0:24:02 | |
this time, one of the characters made of drawing and computer | 0:24:02 | 0:24:04 | |
getting punk'd. | 0:24:04 | 0:24:06 | |
"Ere, Gustav", said the editor. | 0:24:06 | 0:24:08 | |
"Let's make it look like the chipmunk | 0:24:08 | 0:24:10 | |
"on the dry raft's peed herself." | 0:24:10 | 0:24:11 | |
"Good idea, Ernst," said the sidekick, | 0:24:13 | 0:24:15 | |
and so it comes to pass. Wet all over. | 0:24:15 | 0:24:18 | |
Ah, that hollow sound of the franchise barrel being scraped | 0:24:21 | 0:24:24 | |
means that we join The Smurfs in their awful movie. | 0:24:24 | 0:24:26 | |
Now, New York is excellent for filming, | 0:24:28 | 0:24:30 | |
as they just let you do it. | 0:24:30 | 0:24:32 | |
But you do tend to attract crowds of excited members of the public | 0:24:32 | 0:24:35 | |
watching you film, like here. | 0:24:35 | 0:24:37 | |
Still, if I saw the Smurfs filming, I'd stop to look. | 0:24:38 | 0:24:41 | |
Not the Moomins, though. I'd just keep walking. | 0:24:41 | 0:24:43 | |
Get your hand out of my kilt! | 0:24:43 | 0:24:45 | |
Now this song is played on everything uplifting | 0:24:49 | 0:24:52 | |
that's on TV ever. | 0:24:52 | 0:24:53 | |
Hoppipolla by Sigur Ros, and in this scene from the cloying, | 0:24:53 | 0:24:57 | |
so-called inspiring We Built A Zoo, it's certainly doing the trick. | 0:24:57 | 0:25:00 | |
Because judging by the trees and grass, | 0:25:05 | 0:25:06 | |
it's certainly not wind that's keeping those kites in the air. | 0:25:06 | 0:25:09 | |
Am I doing anything right? | 0:25:14 | 0:25:16 | |
Proof that people who do organized things | 0:25:16 | 0:25:18 | |
like taking packed lunches to work aren't as efficient as they think. | 0:25:18 | 0:25:21 | |
Eight-year-old smugster Rosie's putting her sandwiches into bags | 0:25:23 | 0:25:26 | |
because heaven forefend she just go to Pret or somewhere, | 0:25:26 | 0:25:28 | |
like everyone else. | 0:25:28 | 0:25:30 | |
Good. | 0:25:31 | 0:25:33 | |
But when she pointlessly labels the bags, | 0:25:36 | 0:25:38 | |
the sarnies have leapt back on the worktop. Ha! | 0:25:38 | 0:25:40 | |
Now Scarlett has to lock some lions in a thing | 0:25:47 | 0:25:49 | |
cos they can get a bit bitey at humans. | 0:25:49 | 0:25:52 | |
But the director probably decided that giving her a chain | 0:25:52 | 0:25:55 | |
and an open padlock, as seen here, | 0:25:55 | 0:25:57 | |
was a bit too easy... | 0:25:57 | 0:25:58 | |
The only way to fix it is to jimmy it from the inside. | 0:25:58 | 0:26:01 | |
..because by the next shot, they're gone. | 0:26:03 | 0:26:06 | |
Fans of Panic Room will love to see that unimaginative clunker | 0:26:10 | 0:26:14 | |
Spy Kids: All The Time In The World 4D, features a panic room. | 0:26:14 | 0:26:17 | |
However, logic fans will be less keen. | 0:26:18 | 0:26:20 | |
Look at this fireplace full of, erm, gold, baubly things and fronds. | 0:26:20 | 0:26:25 | |
Almost immediately they've gone! From the world. In 4D. | 0:26:29 | 0:26:33 | |
With so many bits and pieces on a film set, | 0:26:38 | 0:26:40 | |
it's important to keep everything labelled. | 0:26:40 | 0:26:42 | |
Circuit boards, for example. | 0:26:42 | 0:26:44 | |
If you're using one as a prop, | 0:26:45 | 0:26:47 | |
you'll want to make sure everyone knows what it's for. | 0:26:47 | 0:26:50 | |
Besides, someone will cover that up before shooting, right? | 0:26:50 | 0:26:52 | |
Wrong! In 4D. | 0:26:54 | 0:26:56 | |
Our next section is Fantasy Films, | 0:26:57 | 0:26:59 | |
which is a genre of film involving parallel worlds, magic wizards, | 0:26:59 | 0:27:03 | |
Greek mythology, and all that shiznit. | 0:27:03 | 0:27:06 | |
I know that now, but I only had this explained to me | 0:27:06 | 0:27:09 | |
after I'd been trying to make my own fantasy film. | 0:27:09 | 0:27:11 | |
I had to send back the girls, the boys, the tarpaulin, | 0:27:11 | 0:27:14 | |
the brie and the Dyson Airblade, | 0:27:14 | 0:27:15 | |
and it was all a little embarrassing to say the least. | 0:27:15 | 0:27:18 | |
But then where the hell would I be without embarrassing mistakes? | 0:27:18 | 0:27:22 | |
Talking of which... | 0:27:22 | 0:27:23 | |
Here, a wooden dagger steals the scene from wooden acting | 0:27:29 | 0:27:32 | |
in fantasy action movie Wrath Of The Titans. | 0:27:32 | 0:27:35 | |
Mind you, it does have some magical properties. | 0:27:35 | 0:27:38 | |
Look, it's gone! | 0:27:38 | 0:27:40 | |
I "wooden" have thought they could do that... | 0:27:40 | 0:27:42 | |
I don't know what I'd do when confronted with a one-eyed giant, | 0:27:47 | 0:27:49 | |
but poor Perseus here is so terrified | 0:27:49 | 0:27:51 | |
he doesn't know whether he's coming or going. | 0:27:51 | 0:27:54 | |
As he breaks free from the Cyclops's grasp... | 0:27:56 | 0:27:59 | |
..he ends up facing the wrong direction. | 0:28:02 | 0:28:04 | |
Did you know that they had proper dentists in the olden times? | 0:28:07 | 0:28:10 | |
I certainly didn't, until I saw this scene from Wrath Of The Titans. | 0:28:10 | 0:28:14 | |
Watch Agenor as he gives us all a perfect view | 0:28:14 | 0:28:16 | |
of ye olde mythical silver filling of the Gods. | 0:28:16 | 0:28:19 | |
OK, everyone, now, I know there's loads of us, | 0:28:26 | 0:28:28 | |
so it's important we do the same thing in this scene from Immortals. | 0:28:28 | 0:28:32 | |
Just remember, swords in the left hand, shields in the right. | 0:28:32 | 0:28:35 | |
So when we shoot the scene from the front, don't forget that. | 0:28:35 | 0:28:39 | |
Oh. | 0:28:41 | 0:28:43 | |
Well, it's a dull epic, no-one will care. | 0:28:43 | 0:28:44 | |
Time now for another quick round of Metil or Normil. | 0:28:57 | 0:29:00 | |
This breastplate certainly looks like metil. Well, a bit like metil. | 0:29:00 | 0:29:03 | |
Actually, I think it's normil, looks like rubber to me. | 0:29:05 | 0:29:08 | |
We'll have to wait till he takes it off. | 0:29:08 | 0:29:10 | |
Yes, look, I was right. | 0:29:13 | 0:29:15 | |
Definitely normil. | 0:29:15 | 0:29:16 | |
In this show, I have to record over 200 links. | 0:29:22 | 0:29:25 | |
That's a set number of links, unlike those in this chain | 0:29:25 | 0:29:28 | |
from cheesily fun John Carter. | 0:29:28 | 0:29:30 | |
It's too short for him to escape the ape... | 0:29:32 | 0:29:34 | |
..but then it's long enough to wrap round the ape like a billion times. | 0:29:37 | 0:29:40 | |
Mum, mum, guess what? | 0:29:48 | 0:29:50 | |
I've got a job as a sound effects man | 0:29:50 | 0:29:51 | |
on this big, colourful film about Snow White! | 0:29:51 | 0:29:54 | |
We've got loads of well-hench sound effects. | 0:29:54 | 0:29:56 | |
There's one of two axes touching that I really love, | 0:29:58 | 0:30:01 | |
I'm about to use it now. | 0:30:01 | 0:30:03 | |
AXES TOUCH | 0:30:03 | 0:30:04 | |
Oh, they didn't touch. Never mind, I'll use it anyway! | 0:30:04 | 0:30:07 | |
Mirror, mirror on the wall, Who's the sneakiest prince of all? | 0:30:12 | 0:30:17 | |
This one, saying farewell to Snow White, | 0:30:17 | 0:30:19 | |
cos he was on Charles's left and he's now on Charles's right. | 0:30:19 | 0:30:23 | |
Snow White films are like London buses. You wait years, | 0:30:27 | 0:30:29 | |
and then two underwhelming ones turn up at the same time. | 0:30:29 | 0:30:32 | |
This is the one that isn't the other one, and we're talking horse. | 0:30:32 | 0:30:35 | |
I love horses, best of all the animals, | 0:30:35 | 0:30:38 | |
but I can't stand a horse with mucky legs, which is why this scene | 0:30:38 | 0:30:41 | |
at first appals and then soothes me. | 0:30:41 | 0:30:44 | |
Dirty horse. | 0:30:47 | 0:30:49 | |
Clean horse. | 0:30:51 | 0:30:52 | |
Now, spoiler alert, everyone! | 0:30:56 | 0:30:58 | |
so, the closing scene comes to a close and everyone has got closure. | 0:30:58 | 0:31:02 | |
And as we pull out of the throne room, | 0:31:02 | 0:31:04 | |
the doors swing closed to emphasise the closing of the story. | 0:31:04 | 0:31:08 | |
But if we rewind just a couple of moments, | 0:31:09 | 0:31:11 | |
you'll see that throughout the coronation, | 0:31:11 | 0:31:14 | |
those closing doors were already very much closed. | 0:31:14 | 0:31:17 | |
The British film industry is much like the American film industry, | 0:31:19 | 0:31:23 | |
except they make some. | 0:31:23 | 0:31:25 | |
I'm joking, of course. The UK Film Council generated | 0:31:25 | 0:31:28 | |
so much successful film-making that the government destroyed it. | 0:31:28 | 0:31:31 | |
Making a British film is much like the plot of a British film. | 0:31:31 | 0:31:35 | |
A plucky underdog, charming and stammering, | 0:31:35 | 0:31:37 | |
like Hugh Grant or Colin Firth - delete as applicable - | 0:31:37 | 0:31:39 | |
achieves some success | 0:31:39 | 0:31:41 | |
after overcoming some moderate obstacles, usually in the rain. | 0:31:41 | 0:31:45 | |
Contains mild peril, possibly that Toploader song, | 0:31:45 | 0:31:48 | |
and a fair few mistakes. | 0:31:48 | 0:31:49 | |
Madcap, not-very-funny spy caper Johnny English Reborn now, | 0:31:50 | 0:31:54 | |
and if the whole point of this scene is whether the switch is on or off, | 0:31:54 | 0:31:58 | |
you'd think they'd pay close attention to it. | 0:31:58 | 0:32:00 | |
But, no. Here it's switched off, | 0:32:00 | 0:32:03 | |
then this lady takes her dress off... | 0:32:03 | 0:32:05 | |
Do you know how to turn it on? | 0:32:05 | 0:32:06 | |
..and then next thing you know it's back on. | 0:32:06 | 0:32:08 | |
Maybe the continuity guy got distracted? | 0:32:09 | 0:32:11 | |
Glenn Close as footballer Lee Dixon here, counting his tips. | 0:32:14 | 0:32:19 | |
it's three coins on the bed. | 0:32:19 | 0:32:20 | |
This is Albert Nobbs, | 0:32:20 | 0:32:21 | |
a haunting and bittersweet film with an amusing name. | 0:32:21 | 0:32:24 | |
Now look at the coins. There's loads more. | 0:32:26 | 0:32:29 | |
It's a Christmas miracle! | 0:32:29 | 0:32:30 | |
The Best Exotic Marigold Hotel was refreshingly upbeat | 0:32:34 | 0:32:37 | |
for a Brit flick, with some good performances, | 0:32:37 | 0:32:39 | |
but while Tom Wilkinson's being all emotional, | 0:32:39 | 0:32:41 | |
Dame Judi's not listening. | 0:32:41 | 0:32:44 | |
She's going through her photos. | 0:32:44 | 0:32:47 | |
You see those pics? Rewind earlier and they weren't there. | 0:32:47 | 0:32:50 | |
I reckon the next cutaway will have her doing a Sudoku. | 0:32:53 | 0:32:56 | |
A tremendous display now from the conjuror Celia Imrie. | 0:33:01 | 0:33:04 | |
It's the old "put the note in the pocket, fail to push it in, | 0:33:04 | 0:33:07 | |
"have it photoshopped out" routine. | 0:33:07 | 0:33:08 | |
Let's see that again in slow motion | 0:33:11 | 0:33:12 | |
so we can wonder at Celia's deft handiwork. | 0:33:12 | 0:33:14 | |
And, thrifty old pro that she is, | 0:33:17 | 0:33:19 | |
she makes sure to reappear it later on, so she can snatch it back. | 0:33:19 | 0:33:22 | |
Daniel Radcliffe gets confused when decorating | 0:33:27 | 0:33:30 | |
in the pant-wettingly scary The Woman In Black. | 0:33:30 | 0:33:32 | |
He's using an axe to strip the wallpaper, | 0:33:33 | 0:33:35 | |
surely something like a scraper would be better? | 0:33:35 | 0:33:38 | |
Later, common sense of sorts prevails as he uses his bare hands. | 0:33:40 | 0:33:43 | |
But then he's back with the axe again | 0:33:47 | 0:33:49 | |
without so much as a bending down. | 0:33:49 | 0:33:51 | |
Someone get that boy a rawl plug. | 0:33:51 | 0:33:53 | |
What can only be censorship here. Listen and watch. | 0:33:56 | 0:33:59 | |
I don't expect to be finished until...Friday at least. | 0:33:59 | 0:34:02 | |
Now, Daniel Radcliffe's mouth keeps moving at the end. | 0:34:03 | 0:34:06 | |
What offensive line did he say? | 0:34:06 | 0:34:08 | |
Well, I can exclusively reveal, what he said was, | 0:34:11 | 0:34:14 | |
"I don't expect to be finished until Friday at least, wubbawubbawubba". | 0:34:14 | 0:34:19 | |
If there's one thing we, the guys at Great Movie Mistakes IV hate, | 0:34:20 | 0:34:24 | |
it's an unnecessary sequel. | 0:34:24 | 0:34:26 | |
As you may recall me saying | 0:34:26 | 0:34:27 | |
way back in Great Movie Mistakes II and III. | 0:34:27 | 0:34:30 | |
But the good thing about sequels is that they give gainful employment | 0:34:30 | 0:34:33 | |
to a lot of Roman numerals | 0:34:33 | 0:34:34 | |
that would otherwise be claiming Jobseeker's Allowance. | 0:34:34 | 0:34:37 | |
It's really just sequels and clockfaces keeping them going. | 0:34:37 | 0:34:40 | |
Journey 2, you are letting the side down. | 0:34:40 | 0:34:43 | |
By the way, it's time that someone said this on television, | 0:34:43 | 0:34:46 | |
there is no such word as quadrilogy. | 0:34:46 | 0:34:48 | |
The word is tetralogy, | 0:34:48 | 0:34:49 | |
and last time I checked it was functioning perfectly well. | 0:34:49 | 0:34:52 | |
You know that game kids play where there's a tray, | 0:34:55 | 0:34:57 | |
and one thing gets removed, and you have to spot what it is? | 0:34:57 | 0:35:00 | |
Well, brainless action flick Mission Impossible Ghost Protocol | 0:35:00 | 0:35:03 | |
incorporated that game in the film. | 0:35:03 | 0:35:05 | |
So, watch carefully. | 0:35:05 | 0:35:06 | |
This wasn't a rescue mission? | 0:35:06 | 0:35:08 | |
Let me put it this way. | 0:35:08 | 0:35:10 | |
If the secretary wanted me out of there, | 0:35:10 | 0:35:13 | |
it must be pretty bad out here. | 0:35:13 | 0:35:14 | |
Now, what's gone? No? | 0:35:15 | 0:35:18 | |
That's right. It was that silver thing. | 0:35:20 | 0:35:22 | |
Our next Mission Impossible game is called | 0:35:22 | 0:35:24 | |
"What is that silver thing?" | 0:35:24 | 0:35:26 | |
Now it's the big-hearted Muppets movie, | 0:35:29 | 0:35:31 | |
and isn't Amy Adams just lovely? | 0:35:31 | 0:35:33 | |
She's so perky she's even brought partial life to these dead flowers. | 0:35:35 | 0:35:38 | |
It's OK, they're really sweet. | 0:35:38 | 0:35:41 | |
You don't mind that he's coming, right? | 0:35:41 | 0:35:43 | |
But not for long. | 0:35:43 | 0:35:44 | |
Some Muppets are tricky to work with. | 0:35:46 | 0:35:49 | |
Sam the Bald American Eagle, for example, is hugely xenophobic. | 0:35:49 | 0:35:53 | |
It's way too far. | 0:35:53 | 0:35:54 | |
That's why in this scene, when a bunch of them | 0:35:54 | 0:35:56 | |
travel to France by map... | 0:35:56 | 0:35:58 | |
..he's bailed out by the time they reach Gallic shores. | 0:36:01 | 0:36:04 | |
ALL: To Paris! | 0:36:07 | 0:36:08 | |
It's a well-known fact that nobody speaks German, | 0:36:11 | 0:36:14 | |
which is why the team behind this middling reboot of Sherlock Holmes | 0:36:14 | 0:36:17 | |
could get away with this little prank. | 0:36:17 | 0:36:19 | |
The subtitle says, "Time to introduce Little Hansel." | 0:36:22 | 0:36:25 | |
What he actually said translates as... | 0:36:28 | 0:36:30 | |
This next mistake is mainly here | 0:36:36 | 0:36:38 | |
to have a pop at the dreadful Twilight series. | 0:36:38 | 0:36:41 | |
Look at Bella's hands as she hides her morning sickness from Edward. | 0:36:41 | 0:36:45 | |
She closes the seat with her right hand, | 0:36:45 | 0:36:48 | |
then she's immediately putting all her weight on it with her left. | 0:36:48 | 0:36:52 | |
Possible, but athletic. | 0:36:52 | 0:36:53 | |
Ah, what a lovely couple. | 0:36:56 | 0:36:58 | |
There they are wearing wedding bands, | 0:36:58 | 0:37:01 | |
because Stephenie Meyer wants girls to know | 0:37:01 | 0:37:03 | |
that even if it's a vampire you're sleeping with, | 0:37:03 | 0:37:05 | |
you should Get Married First. | 0:37:05 | 0:37:06 | |
But the moment they're out of the cab, no more rings. | 0:37:08 | 0:37:11 | |
Art predicting life there. | 0:37:11 | 0:37:13 | |
Tongue-in-cheek and amusing, MIB III is a mind-bending time travel movie, | 0:37:17 | 0:37:21 | |
most obviously in this scene from New York, 1969. | 0:37:21 | 0:37:25 | |
See those pinball machines? | 0:37:25 | 0:37:26 | |
Pinball was banned in the Big Apple until 1976, as we all know. | 0:37:28 | 0:37:32 | |
And once again, the credibility of an alien-filled, | 0:37:32 | 0:37:35 | |
conspiracy-inspired, dimension-hopping movie is ruined. | 0:37:35 | 0:37:37 | |
Think your hoop's a little off. Want me to clean her? | 0:37:37 | 0:37:40 | |
More time-travel now, | 0:37:44 | 0:37:45 | |
as the guys seem to be stuck in a chronic hysterisis. | 0:37:45 | 0:37:48 | |
That's a time loop, to you and me. | 0:37:48 | 0:37:49 | |
See this van? | 0:37:50 | 0:37:52 | |
It's the same van we saw seconds ago. | 0:37:52 | 0:37:54 | |
Happily, they escape, | 0:37:54 | 0:37:55 | |
so the fourth film won't be two hours of more of the same. | 0:37:55 | 0:37:59 | |
Oooh! Another one! | 0:38:03 | 0:38:06 | |
There's also some extraordinary errors in the older MIB films. | 0:38:06 | 0:38:10 | |
In the funny and entertaining original, | 0:38:10 | 0:38:12 | |
we see that to be a Man In Black, | 0:38:12 | 0:38:14 | |
you need intelligence, bravery and secretarial skills. | 0:38:14 | 0:38:17 | |
Being a defender of the galaxy means Agent K types so quickly | 0:38:18 | 0:38:21 | |
his fingers don't even touch the keyboard. | 0:38:21 | 0:38:24 | |
Either that or he's tickling an invisible kitten. | 0:38:24 | 0:38:26 | |
Men In Black II is a disappointing letdown, | 0:38:30 | 0:38:33 | |
featuring as it does Agent K emptying his guns | 0:38:33 | 0:38:35 | |
at a giant rubbish bin. | 0:38:35 | 0:38:36 | |
Mind you, it's a bit fortunate. | 0:38:49 | 0:38:51 | |
Watch as he drops the guns on the floor, | 0:38:51 | 0:38:53 | |
only for them to be removed in the next shot. | 0:38:53 | 0:38:56 | |
Why can't my bin men be that efficient? | 0:38:56 | 0:38:58 | |
You know our arrangements, Jeff. | 0:39:03 | 0:39:05 | |
You don't travel outside of the E, F and R subway lines... | 0:39:05 | 0:39:08 | |
Actors, eh? Always desperate to show off their improv. | 0:39:08 | 0:39:10 | |
Here, the actor playing Agent T demonstrates his miming skills | 0:39:11 | 0:39:16 | |
as he wrestles with an invisible weed. | 0:39:16 | 0:39:18 | |
Oops, someone forgot the CGI. | 0:39:18 | 0:39:20 | |
Next thing you know, | 0:39:20 | 0:39:21 | |
he'll be battling his way out of a pretend box | 0:39:21 | 0:39:23 | |
and descending an imaginary staircase. | 0:39:23 | 0:39:25 | |
What would we do without crime? | 0:39:27 | 0:39:29 | |
Eh? If we didn't have crime, | 0:39:29 | 0:39:31 | |
the Godfather films would be about a series of christenings, | 0:39:31 | 0:39:34 | |
Sexy Beast would be just two hours of shiny cockneys | 0:39:34 | 0:39:37 | |
having a lovely holly bobs, | 0:39:37 | 0:39:38 | |
and Oceans 11 to 13 | 0:39:38 | 0:39:40 | |
would be a dreary account of too many men making a deposit. | 0:39:40 | 0:39:43 | |
But luckily, there is crime. | 0:39:43 | 0:39:45 | |
Hooray for crime and all the films that are made about her. | 0:39:45 | 0:39:49 | |
Though, as you'll see, | 0:39:49 | 0:39:51 | |
crime movies are just as guilty of some inexcusable errors. | 0:39:51 | 0:39:55 | |
This is Drive, a soulless film about a character called The Driver, | 0:39:55 | 0:39:59 | |
who does driving... | 0:39:59 | 0:40:00 | |
And crimes. | 0:40:00 | 0:40:02 | |
Here, the driver nudges a car off the cliff, the rotter. | 0:40:03 | 0:40:06 | |
But although he hits the door... | 0:40:08 | 0:40:10 | |
It's the bumper that gets crumpled. | 0:40:12 | 0:40:14 | |
Which is going to play havoc with the no-claims bonus. | 0:40:14 | 0:40:17 | |
Now for the dullest transformer ever. | 0:40:20 | 0:40:22 | |
A kind of optimus sub-prime. | 0:40:22 | 0:40:23 | |
The car that beeps at Ryan and Carey is clearly a silver Ford Focus. | 0:40:28 | 0:40:32 | |
But as it passes, it's equally clearly a blue Toyota. | 0:40:32 | 0:40:35 | |
Transformers - Toyota Corollas in disguise. | 0:40:37 | 0:40:39 | |
Sometimes in films it's necessary to flip the shot, | 0:40:44 | 0:40:47 | |
for example, if an actor has put his face on the wrong way round, | 0:40:47 | 0:40:50 | |
or is frowning instead of smiling. | 0:40:50 | 0:40:53 | |
But hey, Drive film-makers, if you are going to flip the shot | 0:40:53 | 0:40:56 | |
try to do it when there's not lots of big writing on screen, yeah? | 0:40:56 | 0:41:00 | |
We have a bit of an underwear problem | 0:41:03 | 0:41:05 | |
in the moderately entertaining Man On A Ledge. | 0:41:05 | 0:41:08 | |
Joey is wearing his green undies above his jeans | 0:41:08 | 0:41:10 | |
because he is one of "da yoot". | 0:41:10 | 0:41:12 | |
But in the very same sequence they go all black. | 0:41:13 | 0:41:16 | |
This is why they normally don't let actors wear their own pants. | 0:41:16 | 0:41:20 | |
Robert De Niro is, of course, a follower of the Method School | 0:41:23 | 0:41:26 | |
developed by Lee Strasberg from the teachings of Stanislavsky. | 0:41:26 | 0:41:29 | |
Whereas Jason Statham supports Chelsea. | 0:41:31 | 0:41:34 | |
-What you doing? -I'm going to get my watch back. | 0:41:34 | 0:41:37 | |
This is the pacey but basic action movie Killer Elite. | 0:41:37 | 0:41:40 | |
De Niro's training is in evidence here | 0:41:42 | 0:41:44 | |
as simply can't decide | 0:41:44 | 0:41:46 | |
whether his character would wear his watch in his back pocket | 0:41:46 | 0:41:49 | |
or on his wrist. | 0:41:49 | 0:41:50 | |
Jason now peevishly kicks a slat from the chair he's tied to, | 0:41:56 | 0:42:00 | |
but such is his kinship with all things wooden, | 0:42:00 | 0:42:02 | |
he's repaired it by next time we see it. | 0:42:02 | 0:42:05 | |
So, there you have it. | 0:42:06 | 0:42:07 | |
Once again, moviemakers have spent the year cramming their films | 0:42:07 | 0:42:11 | |
with moments as wrong and yet as entertaining as a chocolate bus. | 0:42:11 | 0:42:15 | |
I hope you enjoyed watching them as much as we've enjoyed finding them. | 0:42:15 | 0:42:18 | |
Actually, wait, I hope you've enjoyed it a lot more than that, | 0:42:18 | 0:42:21 | |
because it's actually quite time-consuming. | 0:42:21 | 0:42:23 | |
Anyway, thanks for watching, | 0:42:23 | 0:42:26 | |
this has been Grand Movie Mishaps 5, and I've been Keith Lemon. | 0:42:26 | 0:42:30 | |
Hello. | 0:42:30 | 0:42:32 | |
Subtitles by Red Bee Media Ltd | 0:42:47 | 0:42:51 |