Browse content similar to Episode 4. Check below for episodes and series from the same categories and more!
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Hello, everyone. I'm just having the finishing touches put to my | 0:00:32 | 0:00:35 | |
Girl With The Dragon Tattoo tattoo. I need to get it quickly, actually, | 0:00:35 | 0:00:39 | |
because I've got to pop to the airport in a bit. | 0:00:39 | 0:00:42 | |
I'm off to Yemen to do some Salmon Fishing, of all things. | 0:00:42 | 0:00:45 | |
I hope I make it In Time and don't get there | 0:00:45 | 0:00:48 | |
when it's Twilight and Breaking Dawn...part one. | 0:00:48 | 0:00:51 | |
Essentially, what I did there was named lots of films | 0:00:51 | 0:00:54 | |
and they have one thing in common, apart from all being films. | 0:00:54 | 0:00:57 | |
They all contain mistakes | 0:00:57 | 0:00:59 | |
and this show is all about great movie mistakes. | 0:00:59 | 0:01:02 | |
You may have deduced that from the title, but you never know. | 0:01:02 | 0:01:06 | |
So thought I'd just explain it anyway. | 0:01:06 | 0:01:08 | |
I feel like I might have patronised you now...a bit. Sorry about that. | 0:01:08 | 0:01:12 | |
Ooh, all done! | 0:01:12 | 0:01:14 | |
Hmm... | 0:01:15 | 0:01:17 | |
That's not quite what I was after. | 0:01:18 | 0:01:20 | |
On tonight's show... | 0:01:23 | 0:01:24 | |
And which of these films made the most mistakes in just one scene? | 0:01:35 | 0:01:38 | |
Find out later! | 0:01:38 | 0:01:39 | |
I don't know if you've noticed this but some films like | 0:01:40 | 0:01:43 | |
The Bourne Identity and Annie just have normal heroes in them. | 0:01:43 | 0:01:46 | |
Whereas all the best films have superheroes in them, | 0:01:46 | 0:01:49 | |
who are like normal heroes but superer. | 0:01:49 | 0:01:51 | |
One of my favourite superhero films this year was Avengers Assembly, | 0:01:51 | 0:01:55 | |
where all the Avengers and their teachers | 0:01:55 | 0:01:57 | |
got together in the main hall, and sang hymns. | 0:01:57 | 0:01:59 | |
I'm really looking forward to the sequels - Avengers Harvest Festival, | 0:01:59 | 0:02:02 | |
Avengers Nativity and Avengers Wet Break. | 0:02:02 | 0:02:05 | |
Right, shut up, everyone, it's Avengers Assemble, | 0:02:05 | 0:02:08 | |
which is MASSIVELY exciting. | 0:02:08 | 0:02:10 | |
Here Captain America takes a shot, | 0:02:10 | 0:02:12 | |
causing terrible damage to his costume and body... | 0:02:12 | 0:02:15 | |
..and over here everyone's second favourite Sherlock Holmes | 0:02:17 | 0:02:20 | |
but first favourite Iron Man, Robert Downey Jr, | 0:02:20 | 0:02:22 | |
has a great big cut to his right eyebrow... | 0:02:22 | 0:02:24 | |
..but here's proof of the power of positive thinking - | 0:02:26 | 0:02:29 | |
all evidence of damage has gone from the Captain's cozzie | 0:02:29 | 0:02:32 | |
and the Iron's cut has miraculously healed. | 0:02:32 | 0:02:34 | |
Now Thor and Iron Man are having a scrap. | 0:02:37 | 0:02:40 | |
Thor sends Iron Man flying off into the woods. | 0:02:40 | 0:02:44 | |
You want me to put the hammer down?! | 0:02:44 | 0:02:46 | |
Then when Thor turns on Captain America, he's all like, | 0:02:46 | 0:02:48 | |
"My American shield will protect me," | 0:02:48 | 0:02:51 | |
and Thor then flies off into the woods... | 0:02:51 | 0:02:54 | |
..but when they all get up, they're about a metre apart. | 0:03:05 | 0:03:08 | |
Those Avengers Assembled a little too quickly, if you ask me! | 0:03:08 | 0:03:12 | |
Are we done here? | 0:03:12 | 0:03:13 | |
Part of the skill of being a special effects wizard is making sure | 0:03:15 | 0:03:19 | |
that none of your tricks of the trade are exposed. | 0:03:19 | 0:03:21 | |
Unfortunately, in this clip, we have the FX version of an upskirt. | 0:03:21 | 0:03:25 | |
As the ratchet cable used to spin the car is clearly visible. | 0:03:30 | 0:03:34 | |
There are some superheroes you really invest in | 0:03:38 | 0:03:40 | |
and others nobody gives a toss about. | 0:03:40 | 0:03:43 | |
Captain America, now, and you'll see here | 0:03:44 | 0:03:47 | |
how Steve goes into the getting-buffmatron | 0:03:47 | 0:03:49 | |
in perfect-fitting trousers... | 0:03:49 | 0:03:51 | |
Mr Stark! | 0:03:55 | 0:03:56 | |
..which still fit perfectly after he's gone all big. | 0:03:59 | 0:04:02 | |
Still, it's by that logic that we all avoided seeing | 0:04:02 | 0:04:05 | |
Lou Ferrigno's naughty bits, so, you know, every cloud. | 0:04:05 | 0:04:08 | |
After some impressive underwater rough and tumble, | 0:04:20 | 0:04:23 | |
Steve throws Heinz out of the water and onto the dock | 0:04:23 | 0:04:26 | |
but, miraculously, both of them are dry. | 0:04:26 | 0:04:29 | |
This is a shame, I'd have loved to see them both have a rub down | 0:04:31 | 0:04:34 | |
with some fluffy towels before he takes that deadly pill. | 0:04:34 | 0:04:37 | |
Tomorrow shall take its place. | 0:04:39 | 0:04:41 | |
One of Captain America's unsung superpowers | 0:04:46 | 0:04:48 | |
is the ability to deteriorate buildings. | 0:04:48 | 0:04:51 | |
Here he is making an evil Nazi railing break | 0:04:51 | 0:04:54 | |
by sheer power of charisma and pectorals. | 0:04:54 | 0:04:57 | |
Intact here... | 0:04:57 | 0:04:58 | |
-Got to be a rope or something! -Just go! Get out of here! | 0:05:05 | 0:05:08 | |
No, not without you! | 0:05:08 | 0:05:10 | |
..and broken here. | 0:05:10 | 0:05:12 | |
In the sequel, he takes down Stalin with some well-placed dry rot. | 0:05:12 | 0:05:15 | |
A shocking, sad and pivotal scene from the Amazing Spider-Man here, | 0:05:19 | 0:05:22 | |
as Uncle Ben's shot down... | 0:05:22 | 0:05:25 | |
..but here's proof Charlie Sheen's dad's just doing his actor day job. | 0:05:26 | 0:05:30 | |
See how he falls to the ground with glasses on? | 0:05:30 | 0:05:33 | |
Well, he must be taking a nap, | 0:05:35 | 0:05:37 | |
as when Peter rushes to help him here, the glasses are off. | 0:05:37 | 0:05:40 | |
Someone call an ambulance! | 0:05:40 | 0:05:42 | |
Keep your eyes on this numberplate. | 0:05:45 | 0:05:47 | |
Hmm, is this Eastern Europe? | 0:05:47 | 0:05:49 | |
Thought so. | 0:05:49 | 0:05:51 | |
This is the contrived, forgotten Ghost Rider sequel. | 0:05:51 | 0:05:54 | |
Look at the numberplate now - | 0:05:57 | 0:05:59 | |
it's reversed. | 0:05:59 | 0:06:00 | |
That's the problem with ghost riders - | 0:06:03 | 0:06:05 | |
the numberplasms on their motorspookles | 0:06:05 | 0:06:08 | |
are very unreli-I-I-I-able! | 0:06:08 | 0:06:10 | |
Finding out they've developed superpowers makes the kids | 0:06:14 | 0:06:17 | |
in effective low-budgeter Chronicle really excited, | 0:06:17 | 0:06:19 | |
and, like most teenage boys, they celebrate | 0:06:19 | 0:06:21 | |
by trying to hurt each other. | 0:06:21 | 0:06:23 | |
Steve gets Matt slap-bang under the right eye... | 0:06:24 | 0:06:27 | |
THEY LAUGH | 0:06:27 | 0:06:28 | |
What the, Steve! Dude, get off! Get off! What are you doing? | 0:06:30 | 0:06:35 | |
-Underhand. -I tried, man. I tried. | 0:06:35 | 0:06:37 | |
..but soon they're laughing on the other side of their faces. | 0:06:37 | 0:06:40 | |
Sorry, bruising on the other side of their faces. | 0:06:40 | 0:06:42 | |
What would be your nominations for Best Picture? | 0:06:45 | 0:06:48 | |
Mine would be the Mona Lisa, that Klimt one everyone's got, | 0:06:48 | 0:06:51 | |
and this picture of me on the beach where I'm sucking it in. | 0:06:51 | 0:06:54 | |
Delightful whimsy aside, what we're really talking about is the Oscars. | 0:06:54 | 0:06:58 | |
Luckily, the Academy Awards are there to let you know exactly | 0:06:58 | 0:07:01 | |
what films are more or less perfectly brilliant, | 0:07:01 | 0:07:04 | |
like Avatar or Titanic. | 0:07:04 | 0:07:05 | |
Sorry, that sounds like I'm having a pop at James Cameron. | 0:07:05 | 0:07:09 | |
I'm really not. I'm just having a pop at his films. | 0:07:09 | 0:07:12 | |
Anyway, award winning films are | 0:07:12 | 0:07:14 | |
just as capable of making careless mistakes as any other film. | 0:07:14 | 0:07:17 | |
That's rather comforting to know, isn't it? | 0:07:17 | 0:07:19 | |
Like reminding yourself that The Queen also goes to the lav. | 0:07:19 | 0:07:23 | |
It's Spielberg's epic adaptation of the National Theatre's epic | 0:07:23 | 0:07:26 | |
adaptation of Michael Morpurgo's epic adaptation | 0:07:26 | 0:07:29 | |
of the First World War, Warhorse, which touched hearts worldwide. | 0:07:29 | 0:07:33 | |
And if that's not enough - they got the continuity wrong with an apple. | 0:07:35 | 0:07:38 | |
Look, whole apple... | 0:07:38 | 0:07:40 | |
..apple with a big bite out of it, | 0:07:44 | 0:07:46 | |
that wasn't there at the start of this clip. | 0:07:46 | 0:07:49 | |
Who did that? A ghost horse, maybe? | 0:07:49 | 0:07:52 | |
And now, nudity. In fact, horse nudity! | 0:07:57 | 0:08:02 | |
Albert knows everything about horses | 0:08:02 | 0:08:03 | |
and all their horse stuff. | 0:08:03 | 0:08:05 | |
See, you've got it. You've got it. | 0:08:07 | 0:08:10 | |
But clearly not how to put a horse's clothes on. | 0:08:10 | 0:08:14 | |
The collar's upside down. | 0:08:14 | 0:08:16 | |
Either that or the horse is upside down. | 0:08:16 | 0:08:19 | |
And now this German soldier's doing it. In a film about horses. | 0:08:19 | 0:08:23 | |
Spielberg should have stuck with sharks. | 0:08:24 | 0:08:27 | |
Well, well, look at you. | 0:08:27 | 0:08:30 | |
This is the touching and heartfelt Extremely Loud And Incredibly Close. | 0:08:31 | 0:08:36 | |
Oskar here has found a note left by his late father, Tom Hanks, | 0:08:36 | 0:08:39 | |
who reads it out in his head like normal. | 0:08:39 | 0:08:42 | |
Congratulations, Oskar. With unbelievable bravery and wisdom far | 0:08:42 | 0:08:47 | |
beyond your years you have solved reconnaissance expedition number six. | 0:08:47 | 0:08:51 | |
But ghost dad Tom has done some posthumous editing | 0:08:52 | 0:08:55 | |
as his words are very different to what the note says. | 0:08:55 | 0:08:58 | |
Wherever they now are, the people of the sixth borough celebrate you. | 0:08:58 | 0:09:04 | |
Extremely Loud And Incredibly Wrong. | 0:09:04 | 0:09:05 | |
Now it's time to go home. | 0:09:05 | 0:09:07 | |
Now the joyful, beguiling The Artist, | 0:09:11 | 0:09:14 | |
which, like all Adam Sandler films, proves films | 0:09:14 | 0:09:17 | |
can be better if no-one talks throughout them. | 0:09:17 | 0:09:19 | |
Here Peppy Miller puts her bag on the floor, but cut to the wide - | 0:09:21 | 0:09:26 | |
the floor has eaten it. | 0:09:26 | 0:09:28 | |
Oh, thank God. It spat it out again. | 0:09:31 | 0:09:34 | |
It's like when that swamp dragon ate R2D2 all over again, but arty. | 0:09:34 | 0:09:38 | |
Notebooks - they cause so much fuss. | 0:09:43 | 0:09:45 | |
Here Peppy drops hers in the clamouring throng | 0:09:45 | 0:09:48 | |
to see movie star George, but as she picks it up, | 0:09:48 | 0:09:51 | |
she's right next to him. | 0:09:51 | 0:09:53 | |
Thanks, notebook! | 0:09:53 | 0:09:54 | |
However, look! The notebook's disappeared! | 0:09:54 | 0:09:58 | |
That's gratitude for you. But once the notebook has had a word | 0:09:58 | 0:10:02 | |
with its agent, it's back in the movie. | 0:10:02 | 0:10:04 | |
Showbiz - such a fickle mistress. | 0:10:04 | 0:10:07 | |
Normally, this show has microphones creeping into shot, | 0:10:13 | 0:10:16 | |
but here it's the opposite. | 0:10:16 | 0:10:17 | |
There's the mike in shot. | 0:10:17 | 0:10:19 | |
But then, boom, it's gone! | 0:10:23 | 0:10:25 | |
I don't mean "boom" like the microphone, I mean... | 0:10:25 | 0:10:28 | |
Oh, you know what I mean. Luckily it comes right back. | 0:10:28 | 0:10:31 | |
Who'd have thought a microphone | 0:10:31 | 0:10:32 | |
would be so troublesome in a silent movie? | 0:10:32 | 0:10:35 | |
-More? -Yeah, just a little bit more. | 0:10:40 | 0:10:42 | |
Don't tell your mother. | 0:10:42 | 0:10:44 | |
Moneyball now, | 0:10:44 | 0:10:45 | |
a quality crowd-pleaser about an American rounders team. Amazing! | 0:10:45 | 0:10:49 | |
Here, Brad Pitt asks his daughter... | 0:10:49 | 0:10:52 | |
Big spoon or little spoon? | 0:10:52 | 0:10:54 | |
Little spoon. | 0:10:54 | 0:10:55 | |
But then, we see the little tyke clearly eating with a big spoon. | 0:10:57 | 0:11:01 | |
Unless that really is the little spoon, | 0:11:01 | 0:11:03 | |
and Brad Pitt's big spoon is actually a wok. | 0:11:03 | 0:11:06 | |
Here Brad Pitt's cross with his rounders players. | 0:11:08 | 0:11:11 | |
As he enters the dressing room, or whatever it's called, | 0:11:11 | 0:11:14 | |
Jeremy Giambi is dancing away. | 0:11:14 | 0:11:16 | |
In the reverse shots, a white towel swings freely between his legs. | 0:11:22 | 0:11:26 | |
From the front... | 0:11:26 | 0:11:28 | |
not a sausage. | 0:11:28 | 0:11:29 | |
Is losing fun? | 0:11:29 | 0:11:31 | |
Another film about a small boy and a dead father, | 0:11:34 | 0:11:36 | |
this time with robots, | 0:11:36 | 0:11:39 | |
Martin Scorsese's escapist, exhilarating, magical Hugo. | 0:11:39 | 0:11:42 | |
Where's the station inspector? | 0:11:42 | 0:11:45 | |
Ben Kingsley enjoys a bit of notebook-based hocus-pocus | 0:11:45 | 0:11:48 | |
with disappearing, reappearing rubber band. | 0:11:48 | 0:11:51 | |
First it's on the notebook... | 0:11:51 | 0:11:53 | |
..then it isn't, then it is... | 0:11:56 | 0:11:59 | |
..then it isn't. | 0:12:00 | 0:12:02 | |
To be honest, it's behaving pretty much like any rubber band. | 0:12:02 | 0:12:05 | |
Not there when you need it. | 0:12:05 | 0:12:07 | |
Oh, hi there. You probably thought this was footage of me | 0:12:13 | 0:12:17 | |
attending a soiree with my showbiz pals | 0:12:17 | 0:12:19 | |
at the Groucho's or the Nando's. | 0:12:19 | 0:12:21 | |
In fact, these people here are supporting, or background artists. | 0:12:21 | 0:12:26 | |
They are only pretending to be my friends, | 0:12:26 | 0:12:28 | |
and have been paid to do so. | 0:12:28 | 0:12:29 | |
Which is different from my actual friends because... | 0:12:29 | 0:12:33 | |
Because... | 0:12:33 | 0:12:35 | |
Roll the VT. | 0:12:37 | 0:12:39 | |
General Patton has said... | 0:12:39 | 0:12:41 | |
Now the soulless superhero flick Captain America, | 0:12:41 | 0:12:44 | |
and it will shock you to discover | 0:12:44 | 0:12:46 | |
that these aren't real soldiers, but actual background artists. | 0:12:46 | 0:12:50 | |
You can tell because here they walk behind Captain Phillips | 0:12:50 | 0:12:53 | |
but in the very next shot | 0:12:53 | 0:12:55 | |
they are marching again back where they started. | 0:12:55 | 0:12:58 | |
Our boys wouldn't do that. | 0:12:58 | 0:12:59 | |
Now James Bond with curtains is haunted by skellingtons or something | 0:13:03 | 0:13:06 | |
in the confused yet predictable Dream House. | 0:13:06 | 0:13:10 | |
Here he is haunted by a terrifying doppelganger couple | 0:13:10 | 0:13:12 | |
as these two, note the stylish but practical red boots on the lady, | 0:13:12 | 0:13:16 | |
walk down the pavement | 0:13:16 | 0:13:17 | |
and then when Daniel Craig David leaves he cafe a few moments later - | 0:13:17 | 0:13:22 | |
Bingo! The identical couple are still walking towards them | 0:13:22 | 0:13:26 | |
in the same direction. | 0:13:26 | 0:13:27 | |
Of course, they could have stopped and had a row. We just don't know. | 0:13:27 | 0:13:33 | |
In this daft but fun scene from The Muppets, | 0:13:33 | 0:13:35 | |
keep watching the anger therapy patients fighting. | 0:13:35 | 0:13:38 | |
One of them's not up to scratch with his brawling. | 0:13:38 | 0:13:42 | |
Thursday's another one of my trigger words! | 0:13:42 | 0:13:44 | |
You'll see the tall man with white hair | 0:13:44 | 0:13:46 | |
is clearly not hitting anything... | 0:13:46 | 0:13:48 | |
..as his punch misses by at least one foot. | 0:13:49 | 0:13:52 | |
Yet, we hear the punch and the other man falls down. | 0:13:54 | 0:13:59 | |
-Also that's not a real animal. -Animal! | 0:13:59 | 0:14:02 | |
Not at night. | 0:14:03 | 0:14:04 | |
We Bought A Zoo was over-sensitive and syrupy, | 0:14:05 | 0:14:09 | |
but it's slightly better than the prequel | 0:14:09 | 0:14:11 | |
I Rented A Newsagent-Cum-Off-Licence. | 0:14:11 | 0:14:14 | |
Off-camera string-pulling is visible here | 0:14:14 | 0:14:16 | |
when two extras are waiting for their cue to walk forward, | 0:14:16 | 0:14:19 | |
which they start to do after a couple of seconds. | 0:14:19 | 0:14:21 | |
And action. Nice. | 0:14:23 | 0:14:26 | |
Guys, it's the other zoo film - it's Zookeeper! | 0:14:30 | 0:14:33 | |
Guys? | 0:14:33 | 0:14:34 | |
Here Griffin cycles past a man sat on a bench | 0:14:36 | 0:14:38 | |
wearing a blue blazer and cream trousers. | 0:14:38 | 0:14:41 | |
Then later, from Griffin's POV, we see he's about to cycle past | 0:14:45 | 0:14:48 | |
a woman in a light shirt and blue jeans | 0:14:48 | 0:14:50 | |
and a man in a straw-coloured hat. | 0:14:50 | 0:14:53 | |
But from the opposite angle, | 0:14:54 | 0:14:56 | |
he's just cycled past the man in a blue blazer and cream trousers. | 0:14:56 | 0:15:00 | |
It doesn't make any sense, I tell you. | 0:15:00 | 0:15:02 | |
Like the decision to green light this film in the first place. | 0:15:02 | 0:15:05 | |
Now, Wes Anderson's escapist, eccentric quirk-fest | 0:15:07 | 0:15:10 | |
Moonrise Kingdom. | 0:15:10 | 0:15:12 | |
When Cousin Ben is talking to Sam and Suzy | 0:15:12 | 0:15:14 | |
as they walk through the camp, a marching scout extra | 0:15:14 | 0:15:17 | |
in the background can be seen looking and waving at the camera. | 0:15:17 | 0:15:21 | |
He'll be earning his Ruin The World Of The Movie badge, | 0:15:21 | 0:15:24 | |
I shouldn't wonder. | 0:15:24 | 0:15:25 | |
Oh, this is ridiculous. I can't make it sync. | 0:15:27 | 0:15:30 | |
Sync with laptop. | 0:15:30 | 0:15:33 | |
PHONE: Do you want me to call your Uncle Martin? | 0:15:33 | 0:15:36 | |
Sync with laptop. | 0:15:36 | 0:15:37 | |
Searching the internet for scuba-diving courses. | 0:15:37 | 0:15:41 | |
Sync with laptop. | 0:15:41 | 0:15:43 | |
That's great. Sync with laptop is now in your diary for April. | 0:15:43 | 0:15:47 | |
Do you want a reminder? | 0:15:47 | 0:15:49 | |
Technology! | 0:15:49 | 0:15:51 | |
This is the zesty but trivial What's Your Number? | 0:15:52 | 0:15:56 | |
And this clip is a little embarrassing for the production | 0:15:56 | 0:15:59 | |
as it obviously shows up the fact that they bought a knock off iPhone | 0:15:59 | 0:16:02 | |
copy from the Australian company Ipple | 0:16:02 | 0:16:05 | |
as when Ally answers it... | 0:16:05 | 0:16:07 | |
it's upside down. | 0:16:07 | 0:16:09 | |
Hi, Mom, can I call you right back? I'm in a meeting. OK. | 0:16:09 | 0:16:13 | |
One thing I really hate is when you're not sure | 0:16:17 | 0:16:19 | |
whether a text you sent has arrived. | 0:16:19 | 0:16:22 | |
Fortunately, the bland and uneven Like Crazy has the answer. | 0:16:22 | 0:16:26 | |
All you need to do is send your texts on either May 28th | 0:16:26 | 0:16:31 | |
or December 1st because apparently they are interchangeable. | 0:16:31 | 0:16:35 | |
The catchily-titled Twilight: Breaking Dawn Part 1 now, | 0:16:38 | 0:16:42 | |
and here Bella is calling Rosalie | 0:16:42 | 0:16:44 | |
but we can clearly see her phone is in lock mode. | 0:16:44 | 0:16:47 | |
Or is it? Vampire phones are special though as they're always | 0:16:48 | 0:16:52 | |
unlocked for emergency orders of delicious blood sandwiches. | 0:16:52 | 0:16:55 | |
A good romantic comedy should make you feel like anything is possible. | 0:16:58 | 0:17:01 | |
Apparently, so can middling ones, | 0:17:01 | 0:17:04 | |
as this clip from Salmon Fishing In The Yemen proves. | 0:17:04 | 0:17:07 | |
It tries to make us believe that you can successfully send | 0:17:07 | 0:17:10 | |
heartfelt text messages when you clearly have no signal. | 0:17:10 | 0:17:13 | |
In the slow-paced and depressing Young Adult, | 0:17:17 | 0:17:20 | |
Mavis is getting a cassette out of her bag. | 0:17:20 | 0:17:22 | |
It's fully rewound. | 0:17:24 | 0:17:26 | |
But when she puts it in the car, it is halfway through a song | 0:17:29 | 0:17:32 | |
and she has to rewind it. | 0:17:32 | 0:17:35 | |
She wants to get at that cassette with a pencil. | 0:17:35 | 0:17:38 | |
Or a biro. Which did you use? | 0:17:38 | 0:17:41 | |
Oh, ask your mum and dad, then! | 0:17:41 | 0:17:43 | |
Here's the man who is suddenly in all films answering a phone | 0:17:46 | 0:17:49 | |
in the so-so indie Jeff Who Lives At Home. | 0:17:49 | 0:17:51 | |
PHONE RINGS | 0:17:51 | 0:17:52 | |
But he doesn't press the button to answer it. | 0:17:52 | 0:17:55 | |
"A-ha!" think the boffins in the edit, | 0:17:55 | 0:17:57 | |
"We can fix that with a beep!" | 0:17:57 | 0:17:59 | |
PHONE RINGS | 0:18:01 | 0:18:03 | |
No, you cannot, boffins, for I, Robert Webb, have spotted it | 0:18:03 | 0:18:06 | |
and thusly foiled you. | 0:18:06 | 0:18:07 | |
Some of the best comedy films of all time have one thing in common. | 0:18:09 | 0:18:13 | |
Trading Places, Every Which Way But Loose, Dunston Checks In, | 0:18:13 | 0:18:16 | |
Outbreak, King Kong, Gorillas In The Mist, | 0:18:16 | 0:18:18 | |
Planet Of The Apes, Greystoke, Mighty Joe Young, Congo. | 0:18:18 | 0:18:23 | |
Sorry, no, the thing these films have in common is, like, monkeys. | 0:18:23 | 0:18:28 | |
It's monkeys. | 0:18:28 | 0:18:30 | |
Most of these films aren't even comedies. | 0:18:30 | 0:18:33 | |
I mean - I've seen Dunston Checks In. | 0:18:33 | 0:18:36 | |
I'll do it myself. No, I'll just busk it. | 0:18:36 | 0:18:38 | |
You're still rolling? | 0:18:38 | 0:18:39 | |
Good. | 0:18:39 | 0:18:41 | |
Some of the best comedy films of all time have one thing in common. | 0:18:41 | 0:18:44 | |
Confetti, Magicians, The Wedding Video. | 0:18:44 | 0:18:47 | |
What? That is totally justified. | 0:18:49 | 0:18:54 | |
All right, not Confetti but, I mean, the other two are quite good. | 0:18:54 | 0:18:57 | |
Anyone with an ounce of manners | 0:18:57 | 0:18:59 | |
knows that spitting on someone's head, | 0:18:59 | 0:19:01 | |
like littering or tax avoidance, is jolly rude. | 0:19:01 | 0:19:04 | |
So it's good that in the very coarse, very dumb Goon, | 0:19:04 | 0:19:08 | |
young Ryan here completely fails to hit his target, Doug. | 0:19:08 | 0:19:11 | |
See? | 0:19:16 | 0:19:17 | |
I don't know what this is. Hair gel? Over-excitement? | 0:19:18 | 0:19:22 | |
Ice Hockey is hugely popular in the US. | 0:19:26 | 0:19:29 | |
However, it's not so popular that people will turn up | 0:19:29 | 0:19:31 | |
to watch a pretend match | 0:19:31 | 0:19:33 | |
as these cardboard cut-out excuses for audience members prove. | 0:19:33 | 0:19:37 | |
It just doesn't fit the HBO brand... | 0:19:40 | 0:19:42 | |
Here's Jennifer Aniston in the inert comedy Wanderlust | 0:19:42 | 0:19:46 | |
defiantly shutting her laptop, the IT equivalent of slamming a door. | 0:19:46 | 0:19:49 | |
We could throw in some vampires in there to have sex with the penguins | 0:19:49 | 0:19:53 | |
and then you could have brooding, sexy, little vampire penguins. | 0:19:53 | 0:19:55 | |
I'm calling actor error on this one. | 0:19:55 | 0:19:58 | |
You'd think that having done something so dramatic, | 0:19:58 | 0:20:00 | |
she'd have noticed that it was open again a few shots later | 0:20:00 | 0:20:03 | |
as she packed up to leave. | 0:20:03 | 0:20:04 | |
I think you're joking? | 0:20:04 | 0:20:06 | |
My favourite mistakes on this show are always the ones where it would | 0:20:07 | 0:20:11 | |
have been easier to get it right. | 0:20:11 | 0:20:13 | |
How did this end up happening, for example? | 0:20:13 | 0:20:15 | |
This margarita's poured out on the rocks. | 0:20:15 | 0:20:18 | |
..5 o'clock, when you could have 4.30. | 0:20:18 | 0:20:21 | |
Can someone have frozen, slushy margarita | 0:20:21 | 0:20:23 | |
ready for when we cut back? | 0:20:23 | 0:20:25 | |
Thanks! | 0:20:25 | 0:20:26 | |
Baffling. | 0:20:26 | 0:20:27 | |
-Keep going, keep going. -OK. | 0:20:27 | 0:20:29 | |
Depressing gross-out, body-swap nonsense now in The Change-Up, | 0:20:31 | 0:20:34 | |
a film so far beneath its star Jason Bateman | 0:20:34 | 0:20:38 | |
that he must've spent the whole shoot underground. | 0:20:38 | 0:20:40 | |
In this scene, Bateman as Mitch as Dave gets pushed out of bed, | 0:20:40 | 0:20:45 | |
or does he? | 0:20:45 | 0:20:46 | |
Jesus. Hey! | 0:20:46 | 0:20:47 | |
No, at the last minute, she snaps back her retracto-arms | 0:20:49 | 0:20:52 | |
and kicks him, instead. | 0:20:52 | 0:20:54 | |
Get through that door, Jason, | 0:20:54 | 0:20:56 | |
and don't stop till you're not in the film any more. | 0:20:56 | 0:20:59 | |
This gentleman is exposing his midriff in the way | 0:21:02 | 0:21:04 | |
we all did in the '80s. | 0:21:04 | 0:21:06 | |
He does it in the witty and frantic Two Days In New York. | 0:21:08 | 0:21:11 | |
But you know how revivals go, | 0:21:11 | 0:21:14 | |
there one minute, gone the next. | 0:21:14 | 0:21:16 | |
And then it's back in fashion again. | 0:21:18 | 0:21:20 | |
In the savagely satirical The Dictator, Sacha Baron Cohen | 0:21:23 | 0:21:27 | |
plays the hardest game of Guess Who ever. | 0:21:27 | 0:21:29 | |
Believe it or not, these are the pictures left after | 0:21:30 | 0:21:33 | |
he's flicked down all the ones with glasses. | 0:21:33 | 0:21:35 | |
And it's going to be a pretty tough game, | 0:21:37 | 0:21:39 | |
because most are duplicates or flips of each other. | 0:21:39 | 0:21:41 | |
I bet it's Bernard, though. It's always Bernard. | 0:21:41 | 0:21:44 | |
Supreme leader is on the talking painting. | 0:21:49 | 0:21:52 | |
These mug shots of Nadal and Aladeen show the pseudonyms | 0:21:52 | 0:21:54 | |
Nadal and Allison Burger. | 0:21:54 | 0:21:57 | |
..was cut short by what police | 0:21:57 | 0:21:58 | |
are now calling a terrorism misunderstanding. | 0:21:58 | 0:22:01 | |
But she says his name is Emir Gency Exit Only. | 0:22:01 | 0:22:04 | |
Emir Gency Exit Only. | 0:22:04 | 0:22:06 | |
If she'd only taken the time to study those mug shots, none of us | 0:22:06 | 0:22:09 | |
would have wasted a precious 30 seconds of our lives on that joke. | 0:22:09 | 0:22:13 | |
Sometimes, a film is just | 0:22:13 | 0:22:14 | |
so damn good that the only thing to do is make it again, but different. | 0:22:14 | 0:22:19 | |
You know that feeling where you're watching a cracking movie | 0:22:19 | 0:22:21 | |
and you think to yourself, "I'd love to see this again with | 0:22:21 | 0:22:24 | |
"different actors and with some of the dialogue slightly changed?" | 0:22:24 | 0:22:27 | |
Well, no, neither do I, but presumably it's happened to someone. | 0:22:27 | 0:22:32 | |
American studios have a particular fondness | 0:22:32 | 0:22:34 | |
for making new versions of French films, | 0:22:34 | 0:22:36 | |
figuring that nobody could possibly have seen the original. | 0:22:36 | 0:22:40 | |
Next time you see something hoo-larious with Adam Sandler | 0:22:40 | 0:22:43 | |
in a dress or Cameron Diaz being amusingly coarse, | 0:22:43 | 0:22:46 | |
bear in mind it probably started life as a sensitive examination | 0:22:46 | 0:22:50 | |
of personal identity called Pourquoi Moi? | 0:22:50 | 0:22:53 | |
In Die Another Day, James Bond had an invisible car. | 0:22:53 | 0:22:57 | |
Here's there's two | 0:22:57 | 0:22:59 | |
in this is lamentable spoof TV remake Dark Shadows. | 0:22:59 | 0:23:03 | |
You see? They're invisible. | 0:23:05 | 0:23:07 | |
Ha! Yah, boo, sucks, 007! | 0:23:07 | 0:23:09 | |
Now, that social taboo we're all uncomfortable talking about - | 0:23:14 | 0:23:17 | |
spontaneous combustion. | 0:23:17 | 0:23:20 | |
Luckily, the treatment's just a good dousing with water. | 0:23:20 | 0:23:24 | |
Special dry water that doesn't | 0:23:24 | 0:23:26 | |
leave a trace in the bucket once you've thrown it. | 0:23:26 | 0:23:28 | |
Vampires do DIY just like us regular folk. | 0:23:33 | 0:23:37 | |
Barnabus is inside a coffin with a separate lid, | 0:23:37 | 0:23:40 | |
but between here and the graveyard | 0:23:40 | 0:23:41 | |
they've clearly managed a pit stop at IKEA for some hinges. | 0:23:41 | 0:23:45 | |
They probably also picked up 500 tea lights for 50p | 0:23:45 | 0:23:48 | |
and gorged on Swedish meatballs. | 0:23:48 | 0:23:50 | |
The aptly-named 21 Jump Street now, a violent and naughty film | 0:23:53 | 0:23:58 | |
where characters jump from one location to another | 0:23:58 | 0:24:00 | |
without paying any attention to boring stuff like continuity. | 0:24:00 | 0:24:03 | |
For example, this door opens on three people | 0:24:03 | 0:24:07 | |
but only two of them walk in. | 0:24:07 | 0:24:08 | |
-Who invited you guys? -I did. The party's here. | 0:24:08 | 0:24:11 | |
-What's up? -Hi, buddy. | 0:24:11 | 0:24:13 | |
Delroy's probably popped round the corner to 21 Teleport Street. | 0:24:13 | 0:24:17 | |
A bona fide miracle next. | 0:24:21 | 0:24:23 | |
Never mind loaves and fishes, some higher power obviously | 0:24:23 | 0:24:26 | |
decided that this tatty old newspaper on the church door | 0:24:26 | 0:24:29 | |
was making the place look untidy | 0:24:29 | 0:24:32 | |
because mere seconds later, it's gone. | 0:24:32 | 0:24:34 | |
Hallelujah! | 0:24:34 | 0:24:35 | |
It's hard to keep track of relations when you're from a larger family. | 0:24:38 | 0:24:42 | |
Like Ren in the semi-enjoyable | 0:24:42 | 0:24:44 | |
but pointless Footloose remake. | 0:24:44 | 0:24:46 | |
His cousins can't stand still. | 0:24:46 | 0:24:48 | |
Here he's greeted by two of them. | 0:24:48 | 0:24:50 | |
How you doing? You guys are huge. Get off me. Attack of the cousins! | 0:24:50 | 0:24:55 | |
But then he's with just one. | 0:24:55 | 0:24:57 | |
The other's hanging out with Lulu. | 0:24:57 | 0:24:59 | |
Not that Lulu, alas, she's not in either of the Foots Loose. | 0:24:59 | 0:25:03 | |
This cross but charismatic young gentlemen played by not Kevin Bacon | 0:25:05 | 0:25:09 | |
gets all crossly into his Beetle and drives away, | 0:25:09 | 0:25:12 | |
showing the exposed engine. | 0:25:12 | 0:25:15 | |
ENGINE STARTS | 0:25:15 | 0:25:16 | |
But when he arrives at this warehouse, | 0:25:20 | 0:25:22 | |
the boot is repaired and the engine covered. | 0:25:22 | 0:25:25 | |
Oh, hello. I'm just flushing 250 million down the toilet, | 0:25:25 | 0:25:29 | |
rather like the makers of John Carter. | 0:25:29 | 0:25:31 | |
Here in Britain, we love an underdog. | 0:25:33 | 0:25:36 | |
We like things that are plucky or unfashionable or sometimes | 0:25:36 | 0:25:39 | |
just plain crap. We root for them, we cheer for them, | 0:25:39 | 0:25:43 | |
we wish them the best. | 0:25:43 | 0:25:44 | |
What we won't do apparently is buy tickets for them. | 0:25:44 | 0:25:47 | |
Which is why the following films | 0:25:47 | 0:25:49 | |
appear in our Worst Flops at the Box Office section. | 0:25:49 | 0:25:52 | |
Here are some mistakes which, like the films they come from, | 0:25:52 | 0:25:55 | |
you didn't notice the first time. | 0:25:55 | 0:25:57 | |
Conan The Terrible, sorry, Conan The Barbarian now, | 0:26:00 | 0:26:03 | |
and Tamara's strolling through the forest | 0:26:03 | 0:26:06 | |
with clear lines of sight in every direction. | 0:26:06 | 0:26:09 | |
Yet somehow she doesn't see or hear Massive Man On Horse. | 0:26:09 | 0:26:13 | |
She failed to spot the foot-soldiers too, | 0:26:15 | 0:26:18 | |
despite those skinny saplings being too small to hide behind. | 0:26:18 | 0:26:21 | |
She didn't see them. | 0:26:21 | 0:26:22 | |
Just like nobody saw this film. | 0:26:22 | 0:26:24 | |
I Don't Know How She Does It, | 0:26:32 | 0:26:34 | |
otherwise known as I Don't Know Why They Made It | 0:26:34 | 0:26:36 | |
has Sarah Jessica Parker running kookily late | 0:26:36 | 0:26:39 | |
with her beige heels and no tights. | 0:26:39 | 0:26:42 | |
But here she's wearing black tights and boots. | 0:26:42 | 0:26:45 | |
-Oh, hi, Clarke. -Good morning. | 0:26:45 | 0:26:48 | |
And now it's the original combo again. | 0:26:48 | 0:26:50 | |
I don't know how she did that. | 0:26:50 | 0:26:52 | |
It may have been a flop, | 0:26:55 | 0:26:56 | |
but John Carter was actually quite good fun. | 0:26:56 | 0:27:00 | |
This is the wedding, | 0:27:00 | 0:27:01 | |
and Sab Than is discovering that there's nothing more embarrassing | 0:27:01 | 0:27:04 | |
than finishing your stag night with a drunken tattoo. | 0:27:04 | 0:27:06 | |
In the time of oceans, the celestial lovers rose from the sea each night. | 0:27:06 | 0:27:11 | |
And just like a drunken tattoo, | 0:27:11 | 0:27:13 | |
this one is staggering all over his face from left to right. | 0:27:13 | 0:27:16 | |
So may it be again. | 0:27:16 | 0:27:18 | |
On to the hokey and scrappy Cowboys And Aliens now, | 0:27:22 | 0:27:25 | |
and as Jake escapes from the alien stronghold | 0:27:25 | 0:27:28 | |
he's covered in a blast of alien space dust | 0:27:28 | 0:27:30 | |
or popping candy, as you youngsters call it. | 0:27:30 | 0:27:33 | |
I hate it when that happens. | 0:27:36 | 0:27:38 | |
And so does Jake. Look, he's now dust free. | 0:27:39 | 0:27:42 | |
The Thing is a dull, sloppy, unsuccessful prequel | 0:27:45 | 0:27:49 | |
to a successful film called The Thing. | 0:27:49 | 0:27:51 | |
I'm hoping they make a sequel called And Another Thing. | 0:27:51 | 0:27:56 | |
Here, Kate turns on both taps, | 0:27:56 | 0:27:59 | |
has the most feeble face-wash of all time, | 0:27:59 | 0:28:01 | |
then turns off the water one-handed. | 0:28:01 | 0:28:04 | |
So the thing about The Thing is | 0:28:04 | 0:28:06 | |
why isn't the other tap still running? | 0:28:06 | 0:28:09 | |
The aptly-named Anonymous was a preposterous romp based on | 0:28:14 | 0:28:18 | |
the idea that Shakespeare wasn't Shakespeare, but the Earl of Oxford. | 0:28:18 | 0:28:22 | |
However we can reveal | 0:28:22 | 0:28:23 | |
that the Earl of Oxford wasn't the Earl of Oxford, either. | 0:28:23 | 0:28:27 | |
judging by that very modern tattoo that's peeping out | 0:28:27 | 0:28:29 | |
from under his doublet, he's clearly Rhys Ifans. | 0:28:29 | 0:28:33 | |
If you're the kind of person who, when reading a book, | 0:28:33 | 0:28:35 | |
likes to skip over the difficult bits, | 0:28:35 | 0:28:38 | |
and put Keira Knightley all over the rest, | 0:28:38 | 0:28:39 | |
then you'll love film adaptations. | 0:28:39 | 0:28:41 | |
Since film was invented, directors have been slightly ruining | 0:28:41 | 0:28:45 | |
or basically missing the point of some of the greatest literary works | 0:28:45 | 0:28:48 | |
in the world. But they still found room to make some shocking mistakes. | 0:28:48 | 0:28:52 | |
Fortunately, the world of literature has been getting its own back | 0:28:52 | 0:28:55 | |
for years by taking tremendous films and getting hacks to write | 0:28:55 | 0:28:58 | |
unreadably awful novelizations. | 0:28:58 | 0:29:00 | |
So, you know, swings and roundabouts. | 0:29:00 | 0:29:03 | |
George Smiley's waiting for a call, with his shoes neatly under | 0:29:03 | 0:29:07 | |
the table in the thrilling and classy Tinker Tailor Soldier Spy. | 0:29:07 | 0:29:11 | |
But when it's an important call, | 0:29:18 | 0:29:20 | |
surely it's wise to be fully clothed, | 0:29:20 | 0:29:22 | |
so in the next shot they're back on again. | 0:29:22 | 0:29:25 | |
Though now he's taken them off. | 0:29:25 | 0:29:27 | |
Oh, make up your mind! | 0:29:27 | 0:29:29 | |
The same thing happens with his underpants | 0:29:29 | 0:29:31 | |
but we can't show that bit. | 0:29:31 | 0:29:33 | |
I think there's just a simple script typo in this scene | 0:29:38 | 0:29:41 | |
from meandering flick The Rum Diary. | 0:29:41 | 0:29:43 | |
There's Johnny Depp with his hair all unkempt | 0:29:43 | 0:29:46 | |
and this line is delivered. | 0:29:46 | 0:29:49 | |
You blew it, Kemp. | 0:29:49 | 0:29:52 | |
And suddenly Johnny's neatly coiffed again. | 0:29:52 | 0:29:55 | |
I'm pretty sure the line should have been, "You blow-dried it, Kemp" | 0:29:55 | 0:29:59 | |
Ah, look, nothing in the sky for miles around, | 0:30:03 | 0:30:06 | |
except a few clouds in this expensive-looking but unnecessary | 0:30:06 | 0:30:09 | |
umpteenth adaptation of The Three Musketeers. | 0:30:09 | 0:30:12 | |
And yet just 39 seconds later... | 0:30:15 | 0:30:18 | |
..where did this ruddy, great low-flying airship come from? | 0:30:19 | 0:30:23 | |
SHOUTING | 0:30:25 | 0:30:27 | |
Some mistakes can be put down to simple revenge. | 0:30:32 | 0:30:34 | |
Clearly the cameraman was so annoyed at crashing into this wooden pole... | 0:30:34 | 0:30:38 | |
Careful! ..that he sneakily removed it for the next shot. | 0:30:38 | 0:30:43 | |
Luckily, someone noticed | 0:30:43 | 0:30:45 | |
and Poley resumed his rightful place next to the step. For a bit. | 0:30:45 | 0:30:49 | |
Rule one of escaping from baddies - | 0:30:58 | 0:31:01 | |
be sure you make a clean getaway. | 0:31:01 | 0:31:03 | |
However, once D'Artagnan runs through the door, | 0:31:03 | 0:31:06 | |
he just stops and waits. | 0:31:06 | 0:31:09 | |
Almost, and I know this is going to sound mad, | 0:31:09 | 0:31:12 | |
almost like an actor waiting for his next cue. | 0:31:12 | 0:31:15 | |
If I dared, I'd touch you, see if you were real. | 0:31:20 | 0:31:24 | |
Mr Rochester's journal. 'Wednesday. An exciting day. | 0:31:24 | 0:31:28 | |
'Jane Eyre returned from visiting her aunt, | 0:31:28 | 0:31:31 | |
'I put this very journal down to say hello. | 0:31:31 | 0:31:35 | |
'However, no sooner had she ascended the stairs | 0:31:35 | 0:31:38 | |
'than my journal completely disappeared, | 0:31:38 | 0:31:41 | |
'only to reappear moments later. | 0:31:41 | 0:31:43 | |
'Should it disappear again, | 0:31:43 | 0:31:45 | |
'I shall write my innermost thoughts on my massive hat.' | 0:31:45 | 0:31:48 | |
Very sloppy. | 0:31:48 | 0:31:50 | |
It's a little bit of a Hollywood secret, but you can't just | 0:31:50 | 0:31:53 | |
use normal cars, trains, motorbikes and so on, when making a film. | 0:31:53 | 0:31:57 | |
No, all the vehicles you see are stars in their own right. | 0:31:57 | 0:32:00 | |
The cars always demand their own trailers, every motorcycle insists | 0:32:00 | 0:32:03 | |
on riders, buses won't film without regular stops and all the aeroplanes | 0:32:03 | 0:32:07 | |
are scientologists and won't let anyone look them in the cockpit. | 0:32:07 | 0:32:11 | |
Also, something about helicopters, um, they work on a rotor system? | 0:32:11 | 0:32:17 | |
Something like that? Somebody sort this out. | 0:32:17 | 0:32:21 | |
Icily compelling sex pest docusoap Shame now, | 0:32:21 | 0:32:25 | |
and here Michael "Middle Stump" Fassbender arrives at Fulton Street | 0:32:25 | 0:32:29 | |
as he creepily eyes up a woman in a hat. | 0:32:29 | 0:32:32 | |
But he's on the world's most inconvenient train, | 0:32:44 | 0:32:47 | |
as you see when they leave Fulton Street. | 0:32:47 | 0:32:49 | |
Then after a few minutes of serious-faced ogling, arrive at... | 0:32:53 | 0:32:56 | |
Fulton Street! | 0:32:56 | 0:32:58 | |
Get your coat, love, you've pulled. | 0:33:00 | 0:33:02 | |
Misbehaving wingtips now, | 0:33:07 | 0:33:09 | |
which is the bane of the Victorian Dandy's life. | 0:33:09 | 0:33:12 | |
But also in the turbo-charged Avengers Assemble. | 0:33:12 | 0:33:15 | |
As the plane lands, the wings fold in. | 0:33:19 | 0:33:21 | |
But when Captain America disembarks, | 0:33:24 | 0:33:26 | |
They are folded out again. | 0:33:26 | 0:33:28 | |
Let's see it again - and watch out for the bonus boob here. | 0:33:28 | 0:33:33 | |
What the hell happened to hi-vis orange runway man? | 0:33:33 | 0:33:36 | |
Pointless remake of Footloose now - | 0:33:40 | 0:33:43 | |
and a stark reminder that level crossings | 0:33:43 | 0:33:45 | |
are dangerous places, kids. Here we see how, | 0:33:45 | 0:33:48 | |
if you're not careful your lovely sister's saloon car | 0:33:48 | 0:33:50 | |
will inexplicably turn into a black four by four | 0:33:50 | 0:33:53 | |
the moment it touches the railway lines. | 0:33:53 | 0:33:55 | |
He's not looking good, sir. | 0:34:03 | 0:34:05 | |
The disappointing Johnny English Reborn now, | 0:34:05 | 0:34:07 | |
and when Johnny says, "It's just like riding a bike," | 0:34:07 | 0:34:11 | |
that's clearly not what he said when they shot it. | 0:34:11 | 0:34:14 | |
-It's just like riding a bike. -Maybe he was actually saying - | 0:34:14 | 0:34:17 | |
"get rid of that man on the back seat," | 0:34:17 | 0:34:19 | |
because by the next shot, he has clearly disappeared. | 0:34:19 | 0:34:23 | |
Yes, it's all coming back to me. | 0:34:23 | 0:34:25 | |
If violent revenge flick How I Spent My Summer Vacation | 0:34:33 | 0:34:36 | |
is anything to go by, Mel Gibson spends his holidays | 0:34:36 | 0:34:38 | |
dressed as a clown in a deserted part of Mexico. | 0:34:38 | 0:34:42 | |
Not that deserted, mind. | 0:34:42 | 0:34:43 | |
Those tyre tracks show there's been another car there, | 0:34:43 | 0:34:46 | |
or at the very least a previous take. | 0:34:46 | 0:34:49 | |
Action movies are like making love. Last about 90 minutes check. | 0:34:52 | 0:34:56 | |
Have loud noises going on throughout check. | 0:34:56 | 0:34:59 | |
An Aerosmith song playing check. | 0:34:59 | 0:35:01 | |
And big men in vests running around shooting assorted Europeans | 0:35:01 | 0:35:05 | |
or Middle Easterns - check. And, of course, an awful lot of blood. | 0:35:05 | 0:35:08 | |
Happy lovemaking, sex fans! | 0:35:08 | 0:35:11 | |
What's wrong here in the hammy and laughably bad Abduction? | 0:35:11 | 0:35:14 | |
Acting rule number one is never look into the camera, but gotcha! | 0:35:17 | 0:35:21 | |
Taylor Lautner can't resist! | 0:35:21 | 0:35:23 | |
Still if this is the take they used, the other ones must have just | 0:35:24 | 0:35:28 | |
had him staring slack-jawed into the camera and wobbling. | 0:35:28 | 0:35:31 | |
Look at the light filtering through the outdoor window - | 0:35:34 | 0:35:37 | |
I love a good sunset, don't you? | 0:35:37 | 0:35:39 | |
And so do the makers of Abduction. | 0:35:40 | 0:35:43 | |
They've really captured that magic hour. | 0:35:43 | 0:35:46 | |
-Yeah. -'Hey, I heard you pull up...' | 0:35:46 | 0:35:50 | |
Or rather, that abrupt few seconds | 0:35:50 | 0:35:52 | |
between day and, in the next shot, night. | 0:35:52 | 0:35:55 | |
It's the run-of-the-mill In Time, | 0:35:58 | 0:36:00 | |
and Henry's timeline's running out, so he's decided to keel over | 0:36:00 | 0:36:04 | |
and fall into some lovely running water. | 0:36:04 | 0:36:06 | |
That's very fortunate. | 0:36:11 | 0:36:13 | |
Had he jumped a few seconds earlier, | 0:36:13 | 0:36:16 | |
he'd have fallen on to a barely wet slab of concrete. | 0:36:16 | 0:36:19 | |
The generally "meh" This Means War now, and attention ladies... | 0:36:24 | 0:36:27 | |
If you've ever had your jacket stolen from a nightclub, | 0:36:27 | 0:36:31 | |
it was almost certainly stolen by Hollywood actor, Reese Witherspoon. | 0:36:31 | 0:36:35 | |
The proof? Well, here she is going in without a jacket, | 0:36:35 | 0:36:40 | |
and here she is exiting the same club, with a jacket. | 0:36:40 | 0:36:45 | |
-Tell it to the DA, Witherspoon. -I'm not the girl for you. | 0:36:45 | 0:36:48 | |
Tooth fairy news now, | 0:36:51 | 0:36:52 | |
and it turns out the little blighter's working overtime. | 0:36:52 | 0:36:55 | |
Here, young Joe is missing the traditional two front teeth, | 0:36:55 | 0:36:58 | |
but the director clearly thought that was a bit of a cliche, | 0:36:58 | 0:37:04 | |
because later on the same day the missing teeth are altogether | 0:37:04 | 0:37:07 | |
hipper, edgier bottom-row ones. | 0:37:07 | 0:37:10 | |
Hands up! | 0:37:10 | 0:37:11 | |
Here's a clip from thin-on-laughs action comedy, 30 Minutes Or Less, | 0:37:15 | 0:37:20 | |
which, if it isn't a sequel to One Hour Photo, should be. Here, | 0:37:20 | 0:37:24 | |
Chet's accidentally spray-painted the inside of the door. | 0:37:24 | 0:37:28 | |
It's like you bought a Mustang... | 0:37:28 | 0:37:30 | |
Luckily, by the time they stop, the paint's disappeared. | 0:37:30 | 0:37:34 | |
My wife gets angry when I eat sushi in the car. | 0:37:34 | 0:37:37 | |
She doesn't understand it makes me a better driver. | 0:37:37 | 0:37:40 | |
Hugely-disappointing, dreary war-fest Red Tails now, | 0:37:43 | 0:37:46 | |
and important advice on hat etiquette. | 0:37:46 | 0:37:48 | |
I need everyone on this next mission. | 0:37:48 | 0:37:50 | |
Young Joe here is committing a faux-pas of epic proportions | 0:37:50 | 0:37:53 | |
as Army regulations state that hats should be | 0:37:53 | 0:37:56 | |
removed when indoors... | 0:37:56 | 0:37:58 | |
and worn when outside. | 0:37:58 | 0:38:00 | |
He's doing neither. | 0:38:00 | 0:38:01 | |
He'd be a laughing stock at Ascot, the berk. | 0:38:01 | 0:38:04 | |
Cuba Gooding Jnr here is doing his best | 0:38:08 | 0:38:11 | |
to win the coveted Pipe Smoker of the Year award. | 0:38:11 | 0:38:13 | |
Look at his masterful skills. | 0:38:13 | 0:38:15 | |
He's so good, he can simultaneously point out directions with it. | 0:38:15 | 0:38:20 | |
And smoke it at the same time. | 0:38:20 | 0:38:22 | |
Airports are stressful, all that queuing, waiting | 0:38:26 | 0:38:28 | |
and having your private bits probed by security. | 0:38:28 | 0:38:31 | |
These poor blokes are having a terrible time. | 0:38:31 | 0:38:34 | |
Their duty free fags have finished and their plane has inexplicably changed from an A3... | 0:38:34 | 0:38:39 | |
..to A2. | 0:38:42 | 0:38:44 | |
Goodness knows where their luggage is going to end up! | 0:38:44 | 0:38:47 | |
There's so much back patting that goes on in the film industry | 0:38:47 | 0:38:50 | |
that many execs are now forced to wear reinforced blazers. | 0:38:50 | 0:38:54 | |
Much of this incestuous congratulating goes on | 0:38:54 | 0:38:56 | |
in the award ceremonies, which are countless. | 0:38:56 | 0:38:59 | |
Unless you count them. In which case, there are about 200 year. | 0:38:59 | 0:39:02 | |
Well, this year there are 201, | 0:39:02 | 0:39:04 | |
as we are about to enter our final section of the night, | 0:39:04 | 0:39:08 | |
and present the Most Mistakes In One Scene Award For 2012. | 0:39:08 | 0:39:11 | |
Or, MMIOS Twe-Twe, as I like to call them. Here are the nominations. | 0:39:11 | 0:39:16 | |
I should have an envelope. Could someone get me an envelope? | 0:39:16 | 0:39:20 | |
NB: A glittery one. Thanks. | 0:39:20 | 0:39:23 | |
Here's the punningly titled | 0:39:26 | 0:39:28 | |
but sadly made Alvin And The Chipmunks: Chipwrecked. | 0:39:28 | 0:39:31 | |
Here are two kids in blue watching the monk-dancing. | 0:39:31 | 0:39:34 | |
And then, piff-paff-poof, they're gone. | 0:39:35 | 0:39:38 | |
And if that's not enough, | 0:39:38 | 0:39:39 | |
celebrity Scientologist Jason Lee pushes past yellow polo shirt guy... | 0:39:39 | 0:39:43 | |
..and then pushes past him again. And now the girls are back. | 0:39:46 | 0:39:50 | |
Only for one of them to be replaced. | 0:39:50 | 0:39:53 | |
What a load of chip. Four mistakes. | 0:39:53 | 0:39:56 | |
Next up, The Inbetweeners Movie, | 0:40:01 | 0:40:03 | |
and it's a busy time for wrong background artists. | 0:40:03 | 0:40:06 | |
When Jay and Si are fighting, | 0:40:06 | 0:40:08 | |
an extra in a red cap appears behind Will's right shoulder. | 0:40:08 | 0:40:12 | |
I shall call him Leopold. | 0:40:12 | 0:40:14 | |
Leopold then mysteriously keeps shifting positions between shots. | 0:40:14 | 0:40:18 | |
All right, come on, you two. | 0:40:21 | 0:40:22 | |
I'm sick of his BLEEP. I'm going to BLEEP do him! | 0:40:25 | 0:40:28 | |
Oh, you're hard, Si(!) I didn't see you do me just now. | 0:40:28 | 0:40:30 | |
-Let's go for walk! -Don't cry, Si. | 0:40:30 | 0:40:32 | |
Then a couple with a male carrying a beach towel over his shoulder | 0:40:32 | 0:40:36 | |
walk past and over to the right side of the road. | 0:40:36 | 0:40:39 | |
Then there's a cut, | 0:40:39 | 0:40:40 | |
and the couple are walking to the right side of the road again. | 0:40:40 | 0:40:43 | |
Meanwhile, after the fight, Jay walks away | 0:40:44 | 0:40:47 | |
and kicks a nearby metal bench. | 0:40:47 | 0:40:49 | |
The benche is empty when he kicks it. | 0:40:49 | 0:40:51 | |
But in the wide shot, it's only Leopold sitting there again. | 0:40:51 | 0:40:54 | |
Five mistakes. Thanks, The Leopold Movie! | 0:40:54 | 0:40:58 | |
And the award goes to... | 0:40:58 | 0:41:01 | |
That is not what I asked for. | 0:41:02 | 0:41:04 | |
And the award goes to... | 0:41:08 | 0:41:10 | |
This astounding mistake-filled scene from Men In Black III. | 0:41:10 | 0:41:13 | |
Here, Griffin talks about the Mets baseball team. | 0:41:13 | 0:41:17 | |
..the World Series, they were in last place every single season | 0:41:17 | 0:41:20 | |
-until they... -Wrong. | 0:41:20 | 0:41:21 | |
In 1968, the Mets were second to last in the World Series. | 0:41:21 | 0:41:24 | |
Now look at his hands. | 0:41:27 | 0:41:29 | |
They've gone. | 0:41:29 | 0:41:30 | |
This packet is especially odd. A big box one second... | 0:41:30 | 0:41:35 | |
And the next it shrinks to tiny sized. | 0:41:37 | 0:41:40 | |
You're not going to fit many crackers in that. | 0:41:40 | 0:41:43 | |
But it doesn't end there, oh, no. This could be a record, viewers. | 0:41:43 | 0:41:47 | |
Now, more hand trouble. | 0:41:47 | 0:41:50 | |
Here they're back. Now they've gone. | 0:41:50 | 0:41:53 | |
And as the final coup de grace, | 0:41:53 | 0:41:56 | |
Griffin's arms are now interlocked with J and K's. | 0:41:56 | 0:41:59 | |
Men In Black 3, movie mistakes, six. | 0:41:59 | 0:42:02 | |
Congratulations. | 0:42:02 | 0:42:04 | |
I lost my planet. | 0:42:04 | 0:42:05 | |
Well, the time has come for film-makers | 0:42:05 | 0:42:08 | |
to breathe a sigh of relief, because we're done...for now. | 0:42:08 | 0:42:11 | |
But beware, Hollywood, if you try and get away | 0:42:11 | 0:42:13 | |
with even the tiniest little error, a misplaced hair, | 0:42:13 | 0:42:16 | |
a shifting coffee cup or a making John Carter, we will be watching. | 0:42:16 | 0:42:21 | |
Good night. | 0:42:21 | 0:42:22 | |
Subtitles by Red Bee Media Ltd | 0:42:30 | 0:42:33 |