Browse content similar to Episode 6. 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 | 0:00:33 | 0:00:36 | |
to my Girl With The Dragon Tattoo tattoo. | 0:00:36 | 0:00:38 | |
I need to get it on quickly cos I've got to pop to the airport in a bit. | 0:00:38 | 0:00:42 | |
I'm off to Yemen to do some salmon fishing, | 0:00:42 | 0:00:44 | |
of all things, I hope I make it there in time, | 0:00:44 | 0:00:47 | |
and don't get there when it's twilight, and breaking dawn. | 0:00:47 | 0:00:50 | |
Part one. | 0:00:50 | 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. | 0:00:54 | 0:00:56 | |
Apart from all being films. | 0:00:56 | 0:00:58 | |
They all contain mistakes. | 0:00:58 | 0:01:00 | |
And this show is all about great movie mistakes. | 0:01:00 | 0:01:03 | |
You may have deduced that from the title, but you never know. | 0:01:03 | 0:01:05 | |
So, thought I'd just explain it anyway. | 0:01:05 | 0:01:09 | |
Feel like I might have patronised you now, a bit. | 0:01:09 | 0:01:11 | |
Sorry about that. Ooh! All done? | 0:01:11 | 0:01:14 | |
Hmm. That's not quite what I was after. | 0:01:17 | 0:01:20 | |
Would you look at that?! | 0:01:23 | 0:01:26 | |
Me, presenting Great Movie Mistakes -1. | 0:01:26 | 0:01:29 | |
It was a prequel we made to set up some back story for the shows. | 0:01:29 | 0:01:32 | |
What makes me so keen to point out sometimes quite trivial mistakes | 0:01:32 | 0:01:37 | |
in movies, why do I hate continuity errors so very much, | 0:01:37 | 0:01:41 | |
what is the big problem | 0:01:41 | 0:01:42 | |
with seeing camera equipment reflected in things. | 0:01:42 | 0:01:46 | |
Yeah, it's all here in Great Movie Mistakes -1: The Prequel. | 0:01:46 | 0:01:50 | |
Because prequels are great. | 0:01:50 | 0:01:53 | |
Effective apocalyptic thrills in Rise Of The Planet Of The Apes, | 0:01:53 | 0:01:59 | |
or should that be Disappearance Of The Bodies Of The Apes? | 0:01:59 | 0:02:01 | |
As clearly, while many of these apes are being shot at | 0:02:01 | 0:02:04 | |
and unlikely to, you know, peg out... | 0:02:04 | 0:02:06 | |
..when Will later drives away there's not a single | 0:02:11 | 0:02:13 | |
dead simian to be seen. | 0:02:13 | 0:02:15 | |
Maybe this was the pre-watershed edit for Ape TV. | 0:02:18 | 0:02:20 | |
Get these people off the bridge! | 0:02:24 | 0:02:26 | |
OK, car fans, hands up who knows the difference between a Nissan | 0:02:26 | 0:02:29 | |
and a Volkswagen? | 0:02:29 | 0:02:31 | |
Don't know why you've got your hand up, Serkis. | 0:02:31 | 0:02:33 | |
One minute you're standing on a Nissan Maxima, | 0:02:35 | 0:02:38 | |
the next it's a VW Jetta. | 0:02:42 | 0:02:44 | |
Oh well, you know what they say. | 0:02:44 | 0:02:45 | |
You pay peanuts, you get your cars mixed up. | 0:02:45 | 0:02:48 | |
Oh, take a look at these lovely gloves, | 0:02:51 | 0:02:54 | |
because for as long as costume designers provide actors | 0:02:54 | 0:02:57 | |
with gloves, actors will find ways | 0:02:57 | 0:02:58 | |
to forget whether they should be wearing them or not. | 0:02:58 | 0:03:01 | |
Isn't that right, Noomi Rapace? | 0:03:03 | 0:03:04 | |
In plot-hole-riddled-shambles that is Prometheus. | 0:03:04 | 0:03:08 | |
Out now, from Prometheus Products, the all-new three-in-one flashlight! | 0:03:13 | 0:03:19 | |
Boarding an alien spaceship? Need a flashlight with three lights? | 0:03:19 | 0:03:22 | |
Not a problem, eh, Holloway? | 0:03:22 | 0:03:25 | |
More of a one-light-flashlight kind of guy? | 0:03:26 | 0:03:29 | |
With the Prometheus Three-In-One, it's easy. | 0:03:29 | 0:03:32 | |
Joan from Tenby has got hers. Buy now! | 0:03:32 | 0:03:36 | |
Prometheus was one big movie mistake, | 0:03:38 | 0:03:41 | |
compared to the original and best, Alien, but that had errors too. | 0:03:41 | 0:03:45 | |
Ignore the fact that it's 2122 | 0:03:45 | 0:03:47 | |
and they're still using Commodore VIC-20s, | 0:03:47 | 0:03:49 | |
It seems in space no-one can see you spell, | 0:03:49 | 0:03:52 | |
as Alignment has an extra "L". | 0:03:52 | 0:03:53 | |
Can I do the "It's one 'L' of a movie" joke? | 0:03:55 | 0:03:58 | |
No? Gits. | 0:03:58 | 0:03:59 | |
Parker here can never get a word in edgeways at dinner parties, | 0:04:03 | 0:04:07 | |
but this time he goes to extraordinary lengths. | 0:04:07 | 0:04:09 | |
You think he's stopped speaking? | 0:04:11 | 0:04:14 | |
No, he's still talking while smiling. Look again. | 0:04:14 | 0:04:17 | |
What happened to this guy, was, | 0:04:18 | 0:04:22 | |
his stomach, his appetite, uh... | 0:04:22 | 0:04:25 | |
He could give Keith Harris a run for his money with that skill. | 0:04:25 | 0:04:28 | |
In the grim, brutal fearfest Aliens, | 0:04:32 | 0:04:35 | |
Ripley doesn't like hospital food and tries to escape. | 0:04:35 | 0:04:38 | |
But this isn't the first time she's tried it. | 0:04:38 | 0:04:40 | |
Look at those two scuff marks. | 0:04:40 | 0:04:41 | |
Oh, now just one mark. | 0:04:48 | 0:04:49 | |
Go on, Ripley, save the film for continuity's sake! | 0:04:49 | 0:04:52 | |
Both marks are back. Breathe easy, everyone! | 0:04:53 | 0:04:55 | |
Once I'm done here, | 0:05:06 | 0:05:07 | |
I must get a sleeping bag for the Star Wars 7 premiere queue. | 0:05:07 | 0:05:10 | |
But I shan't be buying the membranous one | 0:05:12 | 0:05:14 | |
that Ripley got from FutureMillets, | 0:05:14 | 0:05:16 | |
as while she looks snug as a bug tearing out of it, | 0:05:16 | 0:05:18 | |
if you rewind, | 0:05:18 | 0:05:20 | |
her head and legs are already out. | 0:05:20 | 0:05:23 | |
Alien: Resurrection was a letdown, an absolute joke of a film. | 0:05:24 | 0:05:28 | |
And in this joke film, the props were jokes, too. | 0:05:30 | 0:05:33 | |
See how this barbell solidly catches Ripley in the face? | 0:05:33 | 0:05:36 | |
Well, when Christie swings it about, we can see it's a novelty | 0:05:43 | 0:05:46 | |
rubber barbell that bends all over the place. | 0:05:46 | 0:05:48 | |
We all love a good old classic family film like | 0:05:50 | 0:05:53 | |
Nil By Mouth, Whatever Happened To Baby Jane? or Sophie's Choice. | 0:05:53 | 0:05:57 | |
Turns out that family films in this context means | 0:05:57 | 0:06:00 | |
"films for the whole family to watch". | 0:06:00 | 0:06:02 | |
But that is not what they are. | 0:06:02 | 0:06:04 | |
Aside from a few rare exceptions, family films are for children. | 0:06:04 | 0:06:08 | |
They're not for me, and I'm part of a family, too. | 0:06:08 | 0:06:10 | |
If I wanted to watch a film with my whole family, | 0:06:10 | 0:06:12 | |
it would be Blade Runner, | 0:06:12 | 0:06:14 | |
and I can tell you right now that my two year old would hate it. | 0:06:14 | 0:06:16 | |
Particularly if it was the studio cut with the stupid voiceover. | 0:06:16 | 0:06:19 | |
Alvin And The Chipmunks: Chipwrecked, now. | 0:06:20 | 0:06:23 | |
Astoundingly, even worse than the first two. | 0:06:23 | 0:06:26 | |
Now, this is nearly all animation, right? | 0:06:26 | 0:06:28 | |
So they were pointing their cameras only at a man with a magazine. | 0:06:28 | 0:06:33 | |
So you'd have thought someone, surely would notice something. | 0:06:33 | 0:06:36 | |
And they did eventually, but way, way too late. | 0:06:39 | 0:06:42 | |
A film crew practical joke, now. | 0:06:48 | 0:06:50 | |
this time, one of the characters made of drawing and computer | 0:06:50 | 0:06:53 | |
getting punk'd. | 0:06:53 | 0:06:55 | |
"Ere, Gustav", said the editor. | 0:06:55 | 0:06:57 | |
"Let's make it look like the chipmunk | 0:06:57 | 0:06:59 | |
"on the dry raft's peed herself." | 0:06:59 | 0:07:01 | |
"Good idea, Ernst," said the sidekick, | 0:07:01 | 0:07:04 | |
and so it comes to pass. Wet all over. | 0:07:04 | 0:07:06 | |
Ah, that hollow sound of the franchise barrel being scraped | 0:07:10 | 0:07:13 | |
means that we join The Smurfs in their awful movie. | 0:07:13 | 0:07:16 | |
Now, New York is excellent for filming, | 0:07:16 | 0:07:19 | |
as they just let you do it. | 0:07:19 | 0:07:21 | |
But you do tend to attract crowds of excited members of the public | 0:07:21 | 0:07:23 | |
watching you film, like here. | 0:07:23 | 0:07:25 | |
Still, if I saw the Smurfs filming, I'd stop to look. | 0:07:26 | 0:07:30 | |
Not the Moomins, though. I'd just keep walking. | 0:07:30 | 0:07:32 | |
Get your hand out of my kilt! | 0:07:32 | 0:07:34 | |
Now this song is played on everything uplifting | 0:07:37 | 0:07:40 | |
that's on TV ever. | 0:07:40 | 0:07:42 | |
Hoppipolla by Sigur Ros, and in this scene from the cloying, | 0:07:42 | 0:07:45 | |
so-called inspiring We Built A Zoo, it's certainly doing the trick. | 0:07:45 | 0:07:50 | |
Because judging by the trees and grass, | 0:07:53 | 0:07:55 | |
it's certainly not wind that's keeping those kites in the air. | 0:07:55 | 0:07:59 | |
Am I doing anything right? | 0:08:02 | 0:08:04 | |
Proof that people who do organized things like taking packed lunches | 0:08:04 | 0:08:08 | |
to work aren't as efficient as they think. | 0:08:08 | 0:08:10 | |
Eight-year-old smugster Rosie's putting her sandwiches into bags | 0:08:11 | 0:08:14 | |
because heaven forfend she just go to Pret or somewhere, | 0:08:14 | 0:08:17 | |
like everyone else. | 0:08:17 | 0:08:19 | |
Good. | 0:08:20 | 0:08:21 | |
But when she pointlessly labels the bags, | 0:08:25 | 0:08:27 | |
the sarnies have leapt back on the worktop. Ha! | 0:08:27 | 0:08:30 | |
Now Scarlett has to lock some lions in a thing | 0:08:35 | 0:08:38 | |
cos they can get a bit bitey at humans. | 0:08:38 | 0:08:41 | |
But the director probably decided that giving her a chain | 0:08:41 | 0:08:43 | |
and an open padlock, as seen here, | 0:08:43 | 0:08:46 | |
was a bit too easy... | 0:08:46 | 0:08:47 | |
The only way to fix it is to jimmy it from the inside. | 0:08:47 | 0:08:50 | |
..because by the next shot, they're gone. | 0:08:52 | 0:08:54 | |
Fans of Panic Room will love to see that unimaginative clunker | 0:08:59 | 0:09:02 | |
Spy Kids: All The Time In The World 4D, features a panic room. | 0:09:02 | 0:09:06 | |
However, logic fans will be less keen. | 0:09:07 | 0:09:09 | |
Look at this fireplace full of, erm, gold, baubly things and fronds. | 0:09:09 | 0:09:13 | |
Almost immediately they've gone! From the world. In 4D. | 0:09:17 | 0:09:21 | |
With so many bits and pieces on a film set, | 0:09:26 | 0:09:28 | |
it's important to keep everything labelled. | 0:09:28 | 0:09:31 | |
Circuit boards, for example. | 0:09:31 | 0:09:33 | |
If you're using one as a prop, | 0:09:34 | 0:09:35 | |
you'll want to make sure everyone knows what it's for. | 0:09:35 | 0:09:38 | |
Besides someone will cover that up before shooting, right? | 0:09:38 | 0:09:41 | |
Wrong! In 4D. | 0:09:42 | 0:09:44 | |
Our next section is Fantasy Films, which is a genre of film involving | 0:09:46 | 0:09:50 | |
parallel worlds, magic wizards, Greek mythology | 0:09:50 | 0:09:53 | |
and all that shiznit. | 0:09:53 | 0:09:54 | |
I know that now, but I only had this explained to me | 0:09:54 | 0:09:57 | |
after I'd been trying to make my own fantasy film. | 0:09:57 | 0:09:59 | |
I had to send back the girls, the boys, the tarpaulin, | 0:09:59 | 0:10:02 | |
the brie and the Dyson airblade, | 0:10:02 | 0:10:04 | |
and it was all a little embarrassing to say the least. | 0:10:04 | 0:10:07 | |
But then where the hell would I be without embarrassing mistakes? | 0:10:07 | 0:10:11 | |
Talking of which... | 0:10:11 | 0:10:12 | |
Here, a wooden dagger steals the scene | 0:10:17 | 0:10:19 | |
from wooden acting in fantasy action movie Wrath Of The Titans. | 0:10:19 | 0:10:23 | |
Mind you, it does have some magical properties. | 0:10:23 | 0:10:26 | |
Look, it's gone! | 0:10:26 | 0:10:28 | |
I wooden have thought they could do that... | 0:10:28 | 0:10:30 | |
I don't know what I'd do when confronted with a one eyed giant, | 0:10:35 | 0:10:38 | |
but poor Perseus here is so terrified he doesn't know | 0:10:38 | 0:10:41 | |
whether he's coming or going. | 0:10:41 | 0:10:42 | |
As he breaks free from the Cyclops's grasp... | 0:10:44 | 0:10:47 | |
he ends up facing the wrong direction. | 0:10:50 | 0:10:52 | |
Did you know that they had proper dentists in the olden times? | 0:10:56 | 0:10:59 | |
I certainly didn't until I saw this scene from Wrath Of The Titans. | 0:10:59 | 0:11:02 | |
Watch Agenor as he gives us all a perfect view | 0:11:02 | 0:11:05 | |
of ye olde mythical silver filling of the Gods. | 0:11:05 | 0:11:08 | |
OK, everyone, now, I know there's loads of us, | 0:11:14 | 0:11:16 | |
so it's important we do the same thing in this scene from Immortals. | 0:11:16 | 0:11:20 | |
Just remember, swords in the left hand, shields in the right. | 0:11:20 | 0:11:24 | |
So when we shoot the scene from the front, don't forget that. | 0:11:24 | 0:11:27 | |
Oh. | 0:11:29 | 0:11:31 | |
Well, it's a dull epic, no-one will care. | 0:11:31 | 0:11:34 | |
Time now for another quick round of Metil or Normil. | 0:11:45 | 0:11:48 | |
This breastplate certainly looks like metil. Well, a bit like metil. | 0:11:48 | 0:11:52 | |
Actually, I think it's normil, looks like rubber to me. | 0:11:53 | 0:11:57 | |
We'll have to wait till he takes it off. | 0:11:57 | 0:11:59 | |
Yes, look, I was right. | 0:12:01 | 0:12:03 | |
Definitely normil. | 0:12:03 | 0:12:04 | |
In this show, I have to record over 200 links. | 0:12:10 | 0:12:14 | |
That's a set number of links, unlike those in this chain | 0:12:14 | 0:12:17 | |
from cheesily fun John Carter. | 0:12:17 | 0:12:19 | |
It's too short for him to escape the ape... | 0:12:21 | 0:12:23 | |
..but then it's long enough to wrap round the ape like a billion times. | 0:12:25 | 0:12:29 | |
Mum, mum, guess what? | 0:12:37 | 0:12:38 | |
I've got a job as a sound effects man | 0:12:38 | 0:12:40 | |
on this big, colourful film about Snow White! | 0:12:40 | 0:12:43 | |
We've got loads of well hench sound effects. | 0:12:43 | 0:12:45 | |
There's one of two axes touching that I really love, | 0:12:47 | 0:12:49 | |
I'm about to use it now. | 0:12:49 | 0:12:51 | |
AXES TOUCH | 0:12:51 | 0:12:52 | |
Oh, they didn't touch. Never mind, I'll use it anyway! | 0:12:52 | 0:12:55 | |
Mirror, mirror on the wall, Who's the sneakiest prince of all? | 0:13:01 | 0:13:05 | |
This one, saying farewell to Snow White, | 0:13:05 | 0:13:07 | |
cos he was on Charles's left and he's now on Charles's right. | 0:13:07 | 0:13:11 | |
Snow White films are like London buses. You wait years, | 0:13:15 | 0:13:18 | |
and then two underwhelming ones turn up at the same time. | 0:13:18 | 0:13:21 | |
This is the one that isn't the other one, and we're talking horse. | 0:13:21 | 0:13:24 | |
I love horses, best of all the animals, | 0:13:24 | 0:13:26 | |
but I can't stand a horse with mucky legs, which is why this scene | 0:13:26 | 0:13:30 | |
at first appals and then soothes me. | 0:13:30 | 0:13:32 | |
Dirty horse. | 0:13:36 | 0:13:37 | |
Clean horse. | 0:13:39 | 0:13:40 | |
Now, spoiler alert, everyone! | 0:13:45 | 0:13:46 | |
so, the closing scene comes to a close and everyone has got closure. | 0:13:46 | 0:13:51 | |
And as we pull out of the throne room, | 0:13:51 | 0:13:53 | |
the doors swing closed to emphasise the closing of the story. | 0:13:53 | 0:13:56 | |
But if we rewind just a couple of moments, you'll see that throughout | 0:13:58 | 0:14:01 | |
the coronation, those closing doors were already very much closed. | 0:14:01 | 0:14:05 | |
The British film industry is much like the American film industry, | 0:14:08 | 0:14:12 | |
except they make some. | 0:14:12 | 0:14:14 | |
I'm joking, of course. The UK Film Council generated | 0:14:14 | 0:14:16 | |
so much successful film-making that the government destroyed it. | 0:14:16 | 0:14:20 | |
Making a British film is much like the plot of a British film. | 0:14:20 | 0:14:23 | |
A plucky underdog, charming and stammering, | 0:14:23 | 0:14:25 | |
like Hugh Grant or Colin Firth, achieves some success | 0:14:25 | 0:14:30 | |
after overcoming some moderate obstacles, usually in the rain. | 0:14:30 | 0:14:33 | |
Contains mild peril, possibly that Toploader song, | 0:14:33 | 0:14:36 | |
and a fair few mistakes. | 0:14:36 | 0:14:38 | |
Madcap, not-very-funny spy caper Johnny English Reborn now, | 0:14:39 | 0:14:41 | |
and if the whole point of this scene is whether the switch is on or off, | 0:14:42 | 0:14:46 | |
you'd think they'd pay close attention to it. | 0:14:46 | 0:14:49 | |
But, no. Here it's switched off, | 0:14:49 | 0:14:51 | |
then this lady takes her dress off... | 0:14:51 | 0:14:53 | |
Do you know how to turn it on? | 0:14:53 | 0:14:55 | |
..and then next thing you know it's back on. | 0:14:55 | 0:14:57 | |
Maybe the continuity guy got distracted? | 0:14:57 | 0:15:00 | |
Glenn Close as footballer Lee Dixon here, counting his tips. | 0:15:03 | 0:15:07 | |
it's three coins on the bed. | 0:15:07 | 0:15:09 | |
This is Albert Nobbs, | 0:15:09 | 0:15:10 | |
a haunting and bittersweet film with an amusing name. | 0:15:10 | 0:15:12 | |
Now look at the coins. There's loads more. | 0:15:15 | 0:15:17 | |
It's a Christmas miracle! | 0:15:17 | 0:15:19 | |
The Best Exotic Marigold Hotel was refreshingly upbeat | 0:15:22 | 0:15:25 | |
for a Brit flick, with some good performances, | 0:15:25 | 0:15:28 | |
but while Tom Wilkinson's being all emotional, | 0:15:28 | 0:15:30 | |
Dame Judi's not listening. | 0:15:30 | 0:15:33 | |
She's going through her photos. | 0:15:33 | 0:15:35 | |
You see those pics? Rewind earlier and they weren't there. | 0:15:35 | 0:15:39 | |
I reckon the next cutaway will have her doing a Sudoku. | 0:15:41 | 0:15:44 | |
A tremendous display now from the conjuror Celia Imrie. | 0:15:49 | 0:15:53 | |
It's the old "put the note in the pocket, fail to push it in, | 0:15:53 | 0:15:55 | |
"have it photoshopped out" routine. | 0:15:55 | 0:15:57 | |
Let's see that again in slow motion | 0:15:59 | 0:16:01 | |
so we can wonder at Celia's deft handiwork. | 0:16:01 | 0:16:03 | |
And, thrifty old pro that she is, she makes sure to reappear it | 0:16:05 | 0:16:09 | |
later on, so she can snatch it back. | 0:16:09 | 0:16:10 | |
Daniel Radcliffe gets confused when decorating | 0:16:16 | 0:16:18 | |
in the pant-wettingly scary The Woman In Black. | 0:16:18 | 0:16:21 | |
He's using an axe to strip the wallpaper, | 0:16:21 | 0:16:24 | |
surely something like a scraper would be better? | 0:16:24 | 0:16:26 | |
Later, common sense of sorts prevails as he uses his bare hands. | 0:16:28 | 0:16:31 | |
But then he's back with the axe again | 0:16:35 | 0:16:37 | |
without so much as a bending down. | 0:16:37 | 0:16:40 | |
Someone get that boy a rawl plug. | 0:16:40 | 0:16:41 | |
What can only be censorship here. Listen and watch. | 0:16:45 | 0:16:48 | |
I don't expect to be finished until Friday at least. | 0:16:48 | 0:16:50 | |
Now, Daniel Radcliffe's mouth keeps moving at the end. | 0:16:52 | 0:16:55 | |
What offensive line did he say? | 0:16:55 | 0:16:57 | |
Well, I can exclusively reveal what he said was, | 0:17:00 | 0:17:02 | |
"I don't expect to be finished until Friday at least, wubbawubbawubba". | 0:17:02 | 0:17:07 | |
If there's one thing we, the guys at Great Movie Mistakes IV hate, | 0:17:09 | 0:17:12 | |
it's an unnecessary sequel. | 0:17:12 | 0:17:14 | |
As you may recall me saying | 0:17:14 | 0:17:16 | |
way back in Great Movie Mistakes II and III. | 0:17:16 | 0:17:18 | |
But the good thing about sequels is that they give gainful employment | 0:17:18 | 0:17:22 | |
to a lot of Roman numerals that would otherwise | 0:17:22 | 0:17:24 | |
be claiming Jobseeker's Allowance. | 0:17:24 | 0:17:25 | |
It's really just sequels and clockfaces keeping them going. | 0:17:25 | 0:17:29 | |
Journey 2, you are letting the side down. | 0:17:29 | 0:17:31 | |
By the way, it's time that someone said this on television, | 0:17:31 | 0:17:34 | |
there is no such word as quadrilogy. | 0:17:34 | 0:17:36 | |
The word is Tetralogy, | 0:17:36 | 0:17:38 | |
and last time I checked it was functioning perfectly well. | 0:17:38 | 0:17:42 | |
Now it's the big-hearted Muppets movie, | 0:17:44 | 0:17:47 | |
and isn't Amy Adams just lovely? | 0:17:47 | 0:17:50 | |
She's so perky she's even brought partial life to these dead flowers. | 0:17:50 | 0:17:53 | |
It's OK, they're really sweet. | 0:17:53 | 0:17:55 | |
You don't mind that he's coming, right? | 0:17:55 | 0:17:58 | |
But not for long. | 0:17:58 | 0:17:59 | |
Some Muppets are tricky to work with. | 0:18:01 | 0:18:04 | |
Sam the Bald American Eagle, for example, is hugely xenophobic. | 0:18:04 | 0:18:08 | |
It's way too far. | 0:18:08 | 0:18:09 | |
That's why in this scene, when a bunch of them | 0:18:09 | 0:18:12 | |
travel to France by map... | 0:18:12 | 0:18:14 | |
..he's bailed out by the time they reach Gallic shores. | 0:18:16 | 0:18:19 | |
ALL: To Paris! | 0:18:22 | 0:18:24 | |
This next mistake is mainly here to have a pop at the dreadful | 0:18:26 | 0:18:29 | |
Twilight series. | 0:18:29 | 0:18:31 | |
Look at Bella's hands as she hides her morning sickness from Edward. | 0:18:31 | 0:18:35 | |
She closes the seat with her right hand, | 0:18:35 | 0:18:37 | |
then she's immediately putting all her weight on it with her left. | 0:18:37 | 0:18:41 | |
Possible, but athletic. | 0:18:41 | 0:18:43 | |
Ah, what a lovely couple. | 0:18:47 | 0:18:49 | |
There they are wearing wedding bands, | 0:18:49 | 0:18:51 | |
because Stephenie Meyer wants girls to know that even | 0:18:51 | 0:18:53 | |
if it's a vampire you're sleeping with, you should Get Married First. | 0:18:53 | 0:18:56 | |
But the moment they're out of the cab, no more rings. | 0:18:57 | 0:19:01 | |
Art predicting life there. | 0:19:01 | 0:19:03 | |
Tongue-in-cheek and amusing, MIB III is a mind-bending time travel movie, | 0:19:06 | 0:19:10 | |
most obviously in this scene from New York, 1969. | 0:19:10 | 0:19:14 | |
See those pinball machines? | 0:19:14 | 0:19:16 | |
Pinball was banned in the Big Apple until 1976, as we all know. | 0:19:18 | 0:19:22 | |
And once again, the credibility of an alien-filled, | 0:19:22 | 0:19:24 | |
conspiracy-inspired, dimension-hopping movie is ruined. | 0:19:24 | 0:19:27 | |
Think your hoop's a little off. Want me to clean her? | 0:19:27 | 0:19:29 | |
More time-travel now, | 0:19:33 | 0:19:35 | |
as the guys seem to be stuck in a chronic hysterisis. | 0:19:35 | 0:19:37 | |
That's a time loop, to you and me. | 0:19:37 | 0:19:39 | |
See this van? | 0:19:40 | 0:19:41 | |
It's the same van we saw seconds ago. | 0:19:41 | 0:19:44 | |
Happily, they escape, | 0:19:44 | 0:19:46 | |
so the fourth film won't be two hours of more of the same. | 0:19:46 | 0:19:49 | |
Oooh! Another one! | 0:19:52 | 0:19:54 | |
There's also some extraordinary errors in the older MIB films. | 0:19:56 | 0:20:00 | |
In the funny and entertaining original, we see that to be | 0:20:00 | 0:20:03 | |
a Man In Black, you need intelligence, bravery | 0:20:03 | 0:20:05 | |
and secretarial skills. | 0:20:05 | 0:20:07 | |
Being a defender of the galaxy means Agent K types so quickly | 0:20:08 | 0:20:11 | |
his fingers don't even touch the keyboard. | 0:20:11 | 0:20:14 | |
Either that or he's tickling an invisible kitten. | 0:20:14 | 0:20:17 | |
Men In Black II is a disappointing letdown, | 0:20:20 | 0:20:22 | |
featuring as it does Agent K emptying his guns | 0:20:22 | 0:20:25 | |
at a giant rubbish bin. | 0:20:25 | 0:20:28 | |
Mind you, it's a bit fortunate. | 0:20:39 | 0:20:41 | |
Watch as he drops the guns on the floor, | 0:20:41 | 0:20:43 | |
only for them to be removed in the next shot. | 0:20:43 | 0:20:46 | |
Why can't my bin men be that efficient? | 0:20:46 | 0:20:48 | |
You know our arrangements, Jeff. | 0:20:53 | 0:20:54 | |
You don't travel outside of the E, F and R subway lines... | 0:20:54 | 0:20:57 | |
Actors, eh? Always desperate to show off their improv. | 0:20:57 | 0:21:00 | |
Here, the actor playing Agent T demonstrates his miming skills | 0:21:01 | 0:21:05 | |
as he wrestles with an invisible weed. | 0:21:05 | 0:21:08 | |
Oops, someone forgot the CGI. | 0:21:08 | 0:21:10 | |
Next thing you know, he'll be battling his way | 0:21:10 | 0:21:12 | |
out of a pretend box and descending an imaginary staircase. | 0:21:12 | 0:21:16 | |
What would be your nominations for Best Picture? | 0:21:16 | 0:21:20 | |
Mine would be the Mona Lisa, that Klimt one everyone's got, | 0:21:20 | 0:21:23 | |
and this picture of me on the beach where I'm sucking it in. | 0:21:23 | 0:21:27 | |
Delightful whimsy aside, what we're really talking about is the Oscars. | 0:21:27 | 0:21:30 | |
Luckily the Academy Awards are there to let you know exactly what | 0:21:30 | 0:21:34 | |
films are more or less perfectly brilliant, | 0:21:34 | 0:21:36 | |
like Avatar or Titanic. | 0:21:36 | 0:21:38 | |
Sorry, that sounds like I'm having a pop at James Cameron. | 0:21:38 | 0:21:41 | |
I'm really not. I'm just having a pop at his films. | 0:21:41 | 0:21:45 | |
Anyway, award winning films are | 0:21:45 | 0:21:46 | |
just as capable of making careless mistakes as any other film. | 0:21:46 | 0:21:49 | |
That's rather comforting to know, isn't it? | 0:21:49 | 0:21:51 | |
Like reminding yourself that The Queen also goes to the lav. | 0:21:51 | 0:21:55 | |
It's Spielberg's epic adaptation of the National Theatre's epic | 0:21:55 | 0:21:59 | |
adaptation of Michael Morpurgo's epic adaptation | 0:21:59 | 0:22:02 | |
of the First World War, Warhorse, which touched hearts worldwide. | 0:22:02 | 0:22:05 | |
And if that's not enough - they got the continuity wrong with an apple. | 0:22:07 | 0:22:10 | |
Look, whole apple... | 0:22:10 | 0:22:12 | |
..apple with a big bite out of it, | 0:22:16 | 0:22:18 | |
that wasn't there at the start of this clip. | 0:22:18 | 0:22:21 | |
Who did that? A ghost horse, maybe? | 0:22:21 | 0:22:25 | |
And now, nudity. In fact, horse nudity! | 0:22:30 | 0:22:34 | |
Albert knows everything about horses | 0:22:34 | 0:22:36 | |
and all their horse stuff. | 0:22:36 | 0:22:37 | |
See, you've got it. You've got it. | 0:22:39 | 0:22:43 | |
But clearly not how to put a horse's clothes on. | 0:22:43 | 0:22:46 | |
The collar's upside down. | 0:22:46 | 0:22:48 | |
Either that or the horse is upside down. | 0:22:48 | 0:22:51 | |
And now this German soldier's doing it. In a film about horses. | 0:22:51 | 0:22:55 | |
Spielberg should have stuck with sharks. | 0:22:57 | 0:23:00 | |
Well, well, look at you. | 0:23:00 | 0:23:02 | |
This is the touching and heartfelt Extremely Loud And Incredibly Close. | 0:23:04 | 0:23:08 | |
Oskar here has found a note left by his late father, Tom Hanks, | 0:23:08 | 0:23:12 | |
who reads it out in his head like normal. | 0:23:12 | 0:23:14 | |
'Congratulations, Oskar. With unbelievable bravery and wisdom far | 0:23:14 | 0:23:19 | |
'beyond your years you have solved | 0:23:19 | 0:23:21 | |
'reconnaissance expedition number six.' | 0:23:21 | 0:23:23 | |
But ghost dad Tom has done some posthumous editing | 0:23:25 | 0:23:27 | |
as his words are very different to what the note says. | 0:23:27 | 0:23:30 | |
'Wherever they now are, the people of the sixth borough celebrate you.' | 0:23:30 | 0:23:36 | |
Extremely Loud And Incredibly Wrong. | 0:23:36 | 0:23:38 | |
'Now it's time to go home.' | 0:23:38 | 0:23:39 | |
Now the joyful, beguiling The Artist, which, like all | 0:23:44 | 0:23:47 | |
Adam Sandler films, proves films | 0:23:47 | 0:23:49 | |
can be better if no-one talks throughout them. | 0:23:49 | 0:23:51 | |
Here, Peppy Miller puts her bag on the floor, but cut to the wide - | 0:23:53 | 0:23:58 | |
the floor has eaten it. | 0:23:58 | 0:24:01 | |
Oh, thank God. It spat it out again. | 0:24:03 | 0:24:06 | |
It's like when that swamp dragon ate R2D2 all over again, but arty. | 0:24:06 | 0:24:10 | |
Notebooks - they cause so much fuss. | 0:24:15 | 0:24:18 | |
Here Peppy drops hers | 0:24:18 | 0:24:19 | |
in the clamouring throng to see movie star George, | 0:24:19 | 0:24:22 | |
but as she picks it up, she's right next to him. | 0:24:22 | 0:24:25 | |
Thanks notebook! | 0:24:25 | 0:24:26 | |
However, look! The notebook's disappeared! | 0:24:26 | 0:24:30 | |
That's gratitude for you. But once the notebook has had a word with | 0:24:30 | 0:24:34 | |
its agent, it's back in the movie. | 0:24:34 | 0:24:36 | |
Showbiz - such a fickle mistress. | 0:24:36 | 0:24:40 | |
Normally this show has microphones creeping into shot, | 0:24:45 | 0:24:48 | |
but here it's the opposite. | 0:24:48 | 0:24:50 | |
There's the mic in shot. | 0:24:50 | 0:24:53 | |
But then, boom, it's gone! | 0:24:55 | 0:24:57 | |
I don't mean "boom" like the microphone, I mean... | 0:24:57 | 0:25:00 | |
Oh, you know what I mean. Luckily it comes right back. | 0:25:00 | 0:25:03 | |
Who'd have thought a microphone | 0:25:03 | 0:25:05 | |
would be so troublesome in a silent movie? | 0:25:05 | 0:25:08 | |
-More? -Yeah, just a little bit more. | 0:25:12 | 0:25:14 | |
Don't tell your mother. | 0:25:14 | 0:25:16 | |
Moneyball now, | 0:25:16 | 0:25:18 | |
a quality crowd-pleaser about an American rounders team. Amazing! | 0:25:18 | 0:25:21 | |
Here, Brad Pitt asks his daughter... | 0:25:21 | 0:25:23 | |
Big spoon or little spoon? | 0:25:23 | 0:25:26 | |
Little spoon. | 0:25:26 | 0:25:28 | |
But then we see the little tyke clearly eating with a big spoon. | 0:25:29 | 0:25:33 | |
Unless that really is the little spoon, | 0:25:33 | 0:25:35 | |
and Brad Pitt's big spoon is actually a wok. | 0:25:35 | 0:25:38 | |
Here Brad Pitt's cross with his rounders players. | 0:25:40 | 0:25:44 | |
As he enters the dressing room or whatever it's called, | 0:25:44 | 0:25:46 | |
Jeremy Giambi is dancing away. | 0:25:46 | 0:25:48 | |
In the reverse shots, a white towel swings freely between his legs. | 0:25:54 | 0:25:58 | |
From the front... | 0:25:58 | 0:26:00 | |
not a sausage. | 0:26:00 | 0:26:01 | |
Is losing fun? | 0:26:01 | 0:26:03 | |
Another film about a small boy and a dead father, | 0:26:06 | 0:26:09 | |
this time with robots, | 0:26:09 | 0:26:10 | |
Martin Scorsese's escapist, exhilarating, magical Hugo. | 0:26:10 | 0:26:15 | |
Where's the station inspector? | 0:26:15 | 0:26:17 | |
Ben Kingsley enjoys a bit of notebook-based hocus-pocus | 0:26:17 | 0:26:20 | |
with a disappearing, reappearing rubber band. | 0:26:20 | 0:26:23 | |
First it's on the notebook... | 0:26:23 | 0:26:25 | |
..then it isn't, then it is... | 0:26:28 | 0:26:31 | |
..then it isn't. | 0:26:33 | 0:26:34 | |
To be honest, it's behaving pretty much like any rubber band. | 0:26:34 | 0:26:37 | |
Not there when you need it. | 0:26:37 | 0:26:40 | |
Here, Hugo is performing a bog-standard card trick. | 0:26:46 | 0:26:49 | |
Not so impressive, right? | 0:26:49 | 0:26:51 | |
Wrong, magic fans. | 0:26:51 | 0:26:52 | |
Not only does Hugo guess the right card, but he also manages | 0:26:52 | 0:26:56 | |
to turn his right hand | 0:26:56 | 0:26:58 | |
into his left hand. He's a true pro. | 0:26:58 | 0:27:01 | |
No, that's fine. Just tell him to reschedule for Monday. | 0:27:01 | 0:27:05 | |
Yeah, look, he's the roofer, the tiles are loose. | 0:27:05 | 0:27:08 | |
Tell him to get up on the roof. | 0:27:08 | 0:27:10 | |
There's rain coming in! Look, I'm at work, so... | 0:27:10 | 0:27:14 | |
Great Movie Mistakes. | 0:27:14 | 0:27:16 | |
Four. | 0:27:16 | 0:27:18 | |
No, that was three. | 0:27:18 | 0:27:20 | |
Listen, I present the ruddy thing, so I should know. | 0:27:20 | 0:27:23 | |
OK, fine! Same to you! | 0:27:23 | 0:27:25 | |
Blimey, are we done already? | 0:27:27 | 0:27:30 | |
Time really does fly when you're having fun. | 0:27:30 | 0:27:32 | |
Join us again next time for another serving of Great Movie Mistakes. | 0:27:32 | 0:27:35 | |
Hi, it's me. Sorry if I was a bit ratty. | 0:27:39 | 0:27:42 | |
Yeah. No, I love you too. | 0:27:42 | 0:27:45 | |
Subtitles by Red Bee Media Ltd | 0:27:50 | 0:27:53 |