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Hello, good evening and thank you for cotching in our ends. | 0:00:32 | 0:00:36 | |
Tonight, we'll be looking at some of the biggest movie howlers | 0:00:36 | 0:00:40 | |
ever to disgrace the big screen. | 0:00:40 | 0:00:42 | |
And I can promise you it's going to be bare jokes. | 0:00:42 | 0:00:45 | |
I don't know what any of that meant but I checked with Dappy | 0:00:45 | 0:00:48 | |
and he told me that, if I said it, I'd be down with the BBC Three massive | 0:00:48 | 0:00:52 | |
and then he did some complicated hands. | 0:00:52 | 0:00:54 | |
If you're the kind of person who, when reading a book, | 0:00:59 | 0:01:01 | |
likes to skip over the difficult bits, | 0:01:01 | 0:01:03 | |
and put Keira Knightley all over the rest, | 0:01:03 | 0:01:05 | |
then you'll love film adaptations. | 0:01:05 | 0:01:07 | |
Since film was invented, directors have been slightly ruining | 0:01:07 | 0:01:10 | |
or basically missing the point of some of the greatest literary works | 0:01:10 | 0:01:14 | |
in the world. But they still found room to make some shocking mistakes. | 0:01:14 | 0:01:17 | |
Fortunately, the world of literature has been getting its own back | 0:01:17 | 0:01:21 | |
for years by taking tremendous films and getting hacks to write | 0:01:21 | 0:01:24 | |
unreadably awful novelisations. | 0:01:24 | 0:01:26 | |
So, you know, swings and roundabouts. | 0:01:26 | 0:01:29 | |
George Smiley's waiting for a call, with his shoes neatly under | 0:01:29 | 0:01:33 | |
the table in the thrilling and classy Tinker Tailor Soldier Spy. | 0:01:33 | 0:01:37 | |
But when it's an important call, | 0:01:44 | 0:01:45 | |
surely it's wise to be fully clothed, | 0:01:45 | 0:01:48 | |
so in the next shot they're back on again. | 0:01:48 | 0:01:51 | |
Though now he's taken them off. | 0:01:51 | 0:01:53 | |
Oh, make up your mind! | 0:01:53 | 0:01:55 | |
The same thing happens with his underpants | 0:01:55 | 0:01:57 | |
but we can't show that bit. | 0:01:57 | 0:01:58 | |
I think there's just a simple script typo in this scene | 0:02:03 | 0:02:07 | |
from meandering flick The Rum Diary. | 0:02:07 | 0:02:09 | |
There's Johnny Depp with his hair all unkempt | 0:02:09 | 0:02:12 | |
and this line is delivered. | 0:02:12 | 0:02:15 | |
You blew it, Kemp. | 0:02:15 | 0:02:18 | |
And suddenly Johnny's neatly coiffed again. | 0:02:18 | 0:02:21 | |
I'm pretty sure the line should have been, "You blow-dried it, Kemp" | 0:02:21 | 0:02:24 | |
Want to have some breakfast? A little lobster on the beach? | 0:02:28 | 0:02:32 | |
-20 minutes away. -Sounds inviting. | 0:02:32 | 0:02:34 | |
Sunglasses, like umbrellas and razors can be categorised as | 0:02:34 | 0:02:37 | |
things in life you find yourself buying | 0:02:37 | 0:02:39 | |
much more often than you ought to. | 0:02:39 | 0:02:41 | |
I just called Miami. | 0:02:41 | 0:02:42 | |
But on Movie Mistakes we love them. | 0:02:42 | 0:02:45 | |
Why? Well, take Johnny Depp. He puts them on... | 0:02:45 | 0:02:49 | |
I better call in. | 0:02:49 | 0:02:50 | |
..he stands up... | 0:02:50 | 0:02:51 | |
Call from the car. | 0:02:51 | 0:02:52 | |
..he picks them up again. | 0:02:52 | 0:02:54 | |
Well, it's easy to forget where you've put them. | 0:02:54 | 0:02:57 | |
Ah, look, nothing in the sky for miles around, | 0:03:02 | 0:03:05 | |
except a few clouds in this expensive-looking but unnecessary | 0:03:05 | 0:03:08 | |
umpteenth adaptation of The Three Musketeers. | 0:03:08 | 0:03:11 | |
And yet just 39 seconds later... | 0:03:14 | 0:03:16 | |
..where did this ruddy, great low-flying airship come from? | 0:03:17 | 0:03:21 | |
SHOUTING | 0:03:23 | 0:03:25 | |
Some mistakes can be put down to simple revenge. | 0:03:30 | 0:03:33 | |
Clearly the cameraman was so annoyed at crashing into this wooden pole... | 0:03:33 | 0:03:37 | |
Careful! ..that he sneakily removed it for the next shot. | 0:03:37 | 0:03:40 | |
Luckily, someone noticed | 0:03:41 | 0:03:43 | |
and Poley resumed his rightful place next to the step. | 0:03:43 | 0:03:46 | |
For a bit. | 0:03:46 | 0:03:47 | |
Rule one of escaping from baddies - | 0:03:57 | 0:03:59 | |
be sure you make a clean getaway. | 0:03:59 | 0:04:01 | |
However, once D'Artagnan runs through the door, | 0:04:02 | 0:04:05 | |
he just stops and waits. | 0:04:05 | 0:04:07 | |
Almost, and I know this is going to sound mad, | 0:04:07 | 0:04:11 | |
almost like an actor waiting for his next cue. | 0:04:11 | 0:04:13 | |
If I dared, I'd touch you, see if you were real. | 0:04:19 | 0:04:22 | |
Mr Rochester's journal. 'Wednesday. An exciting day. | 0:04:22 | 0:04:27 | |
'Jane Eyre returned from visiting her aunt, | 0:04:27 | 0:04:30 | |
'I put this very journal down to say hello. | 0:04:30 | 0:04:34 | |
'However, no sooner had she ascended the stairs | 0:04:34 | 0:04:37 | |
'than my journal completely disappeared, | 0:04:37 | 0:04:39 | |
'only to reappear moments later. | 0:04:39 | 0:04:42 | |
'Should it disappear again, | 0:04:42 | 0:04:43 | |
'I shall write my innermost thoughts on my massive hat.' | 0:04:43 | 0:04:46 | |
Very sloppy. | 0:04:46 | 0:04:48 | |
Oh, hello. I'm just flushing 250 million down the toilet, | 0:04:48 | 0:04:52 | |
rather like the makers of John Carter. | 0:04:52 | 0:04:55 | |
Here in Britain, we love an underdog. | 0:04:56 | 0:04:59 | |
We like things that are plucky or unfashionable or sometimes | 0:04:59 | 0:05:02 | |
just plain crap. We root for them, we cheer for them, | 0:05:02 | 0:05:06 | |
we wish them the best. | 0:05:06 | 0:05:07 | |
What we won't do apparently is buy tickets for them. | 0:05:07 | 0:05:10 | |
Which is why the following films appear in our | 0:05:10 | 0:05:12 | |
Worst Flops of the Box Office section. | 0:05:12 | 0:05:15 | |
Here are some mistakes which, like the films they come from, | 0:05:15 | 0:05:18 | |
you didn't notice the first time. | 0:05:18 | 0:05:20 | |
Conan The Terrible, sorry, Conan The Barbarian now, | 0:05:23 | 0:05:26 | |
and Tamara's strolling through the forest | 0:05:26 | 0:05:29 | |
with clear lines of sight in every direction. | 0:05:29 | 0:05:32 | |
Yet somehow she doesn't see or hear Massive Man On Horse. | 0:05:32 | 0:05:36 | |
She failed to spot the foot-soldiers too, | 0:05:38 | 0:05:41 | |
despite those skinny saplings being too small to hide behind. | 0:05:41 | 0:05:44 | |
She didn't see them. | 0:05:44 | 0:05:45 | |
Just like nobody saw this film. | 0:05:45 | 0:05:47 | |
I Don't Know How She Does It, | 0:05:55 | 0:05:57 | |
otherwise known as I Don't Know Why They Made It | 0:05:57 | 0:05:59 | |
has Sarah Jessica Parker running kookily late | 0:05:59 | 0:06:02 | |
with her beige heels and no tights. | 0:06:02 | 0:06:05 | |
But here she's wearing black tights and boots. | 0:06:05 | 0:06:08 | |
-Oh, hi, Clarke. -Good morning. | 0:06:08 | 0:06:11 | |
And now it's the original combo again. | 0:06:11 | 0:06:13 | |
I don't know how she did that. | 0:06:13 | 0:06:15 | |
It may have been a flop, | 0:06:18 | 0:06:20 | |
but John Carter was actually quite good fun. | 0:06:20 | 0:06:23 | |
This is the wedding, | 0:06:23 | 0:06:24 | |
and Sab Than is discovering that there's nothing more embarrassing | 0:06:24 | 0:06:27 | |
than finishing your stag night with a drunken tattoo. | 0:06:27 | 0:06:30 | |
In the time of oceans, the celestial lovers rose from the sea each night. | 0:06:30 | 0:06:34 | |
And just like a drunken tattoo, | 0:06:34 | 0:06:36 | |
this one is staggering all over his face from left to right. | 0:06:36 | 0:06:39 | |
So may it be again. | 0:06:39 | 0:06:41 | |
On to the hokey and scrappy Cowboys And Aliens now, | 0:06:45 | 0:06:48 | |
and as Jake escapes from the alien stronghold | 0:06:48 | 0:06:51 | |
he's covered in a blast of alien space dust | 0:06:51 | 0:06:53 | |
or popping candy, as you youngsters call it. | 0:06:53 | 0:06:56 | |
I hate it when that happens. | 0:06:59 | 0:07:01 | |
And so does Jake. Look, he's now dust free. | 0:07:02 | 0:07:05 | |
The Thing is a dull, sloppy, unsuccessful prequel | 0:07:09 | 0:07:12 | |
to a successful film called The Thing. | 0:07:12 | 0:07:14 | |
I'm hoping they make a sequel called And Another Thing. | 0:07:14 | 0:07:18 | |
Here, Kate turns on both taps, | 0:07:18 | 0:07:22 | |
has the most feeble face-wash of all time, | 0:07:22 | 0:07:25 | |
then turns off the water one-handed. | 0:07:25 | 0:07:28 | |
So the thing about The Thing is | 0:07:28 | 0:07:29 | |
why isn't the other tap still running? | 0:07:29 | 0:07:32 | |
The aptly-named Anonymous was a preposterous romp based on | 0:07:37 | 0:07:40 | |
the idea that Shakespeare wasn't Shakespeare, but the Earl of Oxford. | 0:07:40 | 0:07:45 | |
However we can reveal | 0:07:45 | 0:07:46 | |
that the Earl of Oxford wasn't the Earl of Oxford, either. | 0:07:46 | 0:07:50 | |
Judging by that very modern tattoo that's peeping out | 0:07:50 | 0:07:52 | |
from under his doublet, he's clearly Rhys Ifans. | 0:07:52 | 0:07:56 | |
It's a little bit of a Hollywood secret, but you can't just | 0:07:56 | 0:07:59 | |
use normal cars, trains, motorbikes and so on, when making a film. | 0:07:59 | 0:08:03 | |
No, all the vehicles you see are stars in their own right. | 0:08:03 | 0:08:06 | |
The cars always demand their own trailers, every motorcycle insists | 0:08:06 | 0:08:09 | |
on riders, buses won't film without regular stops and all the aeroplanes | 0:08:09 | 0:08:13 | |
are scientologists and won't let anyone look them in the cockpit. | 0:08:13 | 0:08:17 | |
Also, something about helicopters, um, they work on a rotor system? | 0:08:17 | 0:08:23 | |
Something like that? Somebody sort this out. | 0:08:23 | 0:08:27 | |
Icily compelling sex pest docusoap Shame now, | 0:08:27 | 0:08:31 | |
and here Michael "Middle Stump" Fassbender arrives at Fulton Street | 0:08:31 | 0:08:35 | |
as he creepily eyes up a woman in a hat. | 0:08:35 | 0:08:38 | |
But he's on the world's most inconvenient train, | 0:08:50 | 0:08:53 | |
as you see when they leave Fulton Street. | 0:08:53 | 0:08:55 | |
Then after a few minutes of serious-faced ogling, arrive at... | 0:08:59 | 0:09:02 | |
..Fulton Street! | 0:09:02 | 0:09:04 | |
Get your coat, love, you've pulled. | 0:09:06 | 0:09:08 | |
Every which way but funny now with The Zookeeper. | 0:09:13 | 0:09:16 | |
Everything about this clip is ridiculous. | 0:09:16 | 0:09:19 | |
The background is swishing about like nobody's business, | 0:09:20 | 0:09:24 | |
and TV funnyman Kevin James isn't even turning the steering wheel. | 0:09:24 | 0:09:27 | |
Absolutely ridiculous. | 0:09:29 | 0:09:31 | |
The talking gorilla in the daringly tight T-shirt, however, is fine. | 0:09:31 | 0:09:35 | |
Misbehaving wingtips now, | 0:09:39 | 0:09:41 | |
which is the bane of the Victorian Dandy's life. | 0:09:41 | 0:09:44 | |
But also in the turbo-charged Avengers Assemble. | 0:09:44 | 0:09:48 | |
As the plane lands, the wings fold in. | 0:09:51 | 0:09:54 | |
But when Captain America disembarks, | 0:09:56 | 0:09:58 | |
they are folded out again. | 0:09:58 | 0:10:00 | |
Let's see it again - | 0:10:00 | 0:10:02 | |
and watch out for the bonus boob here. | 0:10:02 | 0:10:05 | |
What the hell happened to hi-vis orange runway man? | 0:10:05 | 0:10:08 | |
The windscreen wipers on this police car | 0:10:14 | 0:10:17 | |
in the comedically dry The Guard remind me very much | 0:10:17 | 0:10:19 | |
of the men in The Grand old Duke of York. | 0:10:19 | 0:10:21 | |
Because when they are up they are up, | 0:10:21 | 0:10:24 | |
and when they are down they are down. | 0:10:24 | 0:10:26 | |
And that's the end of my simile. Wrong windscreen wipers is my point. | 0:10:26 | 0:10:30 | |
Just been transferred from Dublin. | 0:10:30 | 0:10:33 | |
Pointless remake of Footloose now - | 0:10:34 | 0:10:36 | |
and a stark reminder that level crossings | 0:10:36 | 0:10:39 | |
are dangerous places, kids. Here we see how, | 0:10:39 | 0:10:41 | |
if you're not careful your lovely sister's saloon car | 0:10:41 | 0:10:44 | |
will inexplicably turn into a black four by four | 0:10:44 | 0:10:46 | |
the moment it touches the railway lines. | 0:10:46 | 0:10:49 | |
He's not looking good, sir. | 0:10:56 | 0:10:59 | |
The disappointing Johnny English Reborn now, | 0:10:59 | 0:11:01 | |
and when Johnny says, "It's just like riding a bike," | 0:11:01 | 0:11:04 | |
that's clearly not what he said when they shot it. | 0:11:04 | 0:11:08 | |
It's just like riding a bike. | 0:11:08 | 0:11:09 | |
Maybe he was actually saying, "Get rid of that man on the back seat," | 0:11:09 | 0:11:13 | |
because by the next shot, he has clearly disappeared. | 0:11:13 | 0:11:16 | |
Yes, it's all coming back to me. | 0:11:17 | 0:11:19 | |
If violent revenge flick How I Spent My Summer Vacation | 0:11:26 | 0:11:29 | |
is anything to go by, Mel Gibson spends his holidays | 0:11:29 | 0:11:32 | |
dressed as a clown in a deserted part of Mexico. | 0:11:32 | 0:11:36 | |
Not that deserted, mind. | 0:11:36 | 0:11:37 | |
Those tyre tracks show there's been another car there, | 0:11:37 | 0:11:40 | |
or at the very least a previous take. | 0:11:40 | 0:11:43 | |
Action movies are like making love. Last about 90 minutes check. | 0:11:46 | 0:11:50 | |
Have loud noises going on throughout check. | 0:11:50 | 0:11:53 | |
An Aerosmith song playing check. | 0:11:53 | 0:11:55 | |
And big men in vests running around shooting assorted Europeans | 0:11:55 | 0:11:58 | |
or Middle Easterns - check. | 0:11:58 | 0:12:00 | |
And, of course, an awful lot of blood. | 0:12:00 | 0:12:02 | |
Happy lovemaking, sex fans! | 0:12:02 | 0:12:05 | |
What's wrong here in the hammy and laughably bad Abduction? | 0:12:05 | 0:12:10 | |
Acting rule number one is never look into the camera, but gotcha! | 0:12:11 | 0:12:15 | |
Taylor Lautner can't resist! | 0:12:15 | 0:12:17 | |
Still if this is the take they used, the other ones must have just | 0:12:18 | 0:12:21 | |
had him staring slack-jawed into the camera and wobbling. | 0:12:21 | 0:12:25 | |
Look at the light filtering through the outdoor window - | 0:12:27 | 0:12:31 | |
I love a good sunset, don't you? | 0:12:31 | 0:12:32 | |
And so do the makers of Abduction. | 0:12:34 | 0:12:37 | |
They've really captured that magic hour. | 0:12:37 | 0:12:40 | |
-Yeah. -'Hey, I heard you pull up...' | 0:12:40 | 0:12:43 | |
Or rather, that abrupt few seconds between day and, | 0:12:43 | 0:12:47 | |
in the next shot, night. | 0:12:47 | 0:12:48 | |
It's the run-of-the-mill In Time, | 0:12:52 | 0:12:54 | |
and Henry's timeline's running out, so he's decided to keel over | 0:12:54 | 0:12:58 | |
and fall into some lovely running water. | 0:12:58 | 0:13:00 | |
That's very fortunate, had he jumped a few seconds earlier, | 0:13:05 | 0:13:09 | |
he'd have fallen on to a barely wet slab of concrete. | 0:13:09 | 0:13:12 | |
The generally "meh" This Means War now and attention, ladies. | 0:13:17 | 0:13:21 | |
If you've ever had your jacket stolen from a nightclub, | 0:13:21 | 0:13:25 | |
it was almost certainly stolen by Hollywood actor, Reese Witherspoon. | 0:13:25 | 0:13:29 | |
The proof? Well, here she is going in without a jacket, | 0:13:29 | 0:13:34 | |
and here she is exiting the same club, with a jacket. | 0:13:34 | 0:13:39 | |
-Tell it to the DA, Witherspoon. -I'm not the girl for you. | 0:13:39 | 0:13:42 | |
Tooth fairy news now, | 0:13:44 | 0:13:45 | |
and it turns out the little blighter's working overtime. | 0:13:45 | 0:13:49 | |
Here, young Joe is missing the traditional two front teeth, | 0:13:49 | 0:13:52 | |
but the director clearly thought that was a bit of a cliche, | 0:13:52 | 0:13:58 | |
because later on the same day the missing teeth are altogether | 0:13:58 | 0:14:01 | |
hipper, edgier bottom-row ones. | 0:14:01 | 0:14:02 | |
Hands up! | 0:14:04 | 0:14:08 | |
Here's a clip from thin-on-laughs action comedy, 30 Minutes Or Less, | 0:14:08 | 0:14:12 | |
which, if it isn't a sequel to One Hour Photo, should be. | 0:14:12 | 0:14:18 | |
Here, Chet spray-painted the inside of the door. | 0:14:18 | 0:14:22 | |
It's like you bought a Mustang... | 0:14:22 | 0:14:24 | |
Luckily, by the time they stop, the paint's disappeared. | 0:14:24 | 0:14:28 | |
My wife gets angry when I eat sushi in the car. | 0:14:28 | 0:14:31 | |
She doesn't understand it makes me a better driver. | 0:14:31 | 0:14:34 | |
Hugely-disappointing, dreary war-fest Red Tails now, | 0:14:36 | 0:14:40 | |
and important advice on hat etiquette. | 0:14:40 | 0:14:42 | |
We need everyone on this next mission. | 0:14:42 | 0:14:45 | |
Young Joe here is committing a faux-pas of epic proportions | 0:14:45 | 0:14:47 | |
as Army regulations state that hats should be | 0:14:47 | 0:14:50 | |
removed when indoors... | 0:14:50 | 0:14:52 | |
and worn when outside. | 0:14:52 | 0:14:54 | |
He's doing neither. | 0:14:54 | 0:14:55 | |
He'd be a laughing stock at Ascot, the berk. | 0:14:55 | 0:14:58 | |
Cuba Gooding Jr is doing his best to win the coveted Pipe Smoker of the Year award. | 0:15:02 | 0:15:07 | |
Look at his masterful skills. | 0:15:07 | 0:15:09 | |
He's so good, he can simultaneously point out directions with it. | 0:15:09 | 0:15:14 | |
And smoke it at the same time. | 0:15:14 | 0:15:16 | |
Airports are stressful, all that queuing, waiting | 0:15:20 | 0:15:22 | |
and having your private bits probed by security. | 0:15:22 | 0:15:26 | |
These poor blokes are having a terrible time, | 0:15:26 | 0:15:28 | |
their duty free fags have finished and their plane has inexplicably changed from an A3... | 0:15:28 | 0:15:33 | |
..to A2. | 0:15:36 | 0:15:38 | |
Goodness knows where their luggage is going to end up! | 0:15:38 | 0:15:41 | |
Deck the hall with merry gentlemen, it's the most wonderful time of the chestnuts roasting | 0:15:41 | 0:15:46 | |
on a red-nosed sleigh bells jingle all the way. | 0:15:46 | 0:15:49 | |
I actually used to hate Christmas, but one day, just as I was about to jump in a river, | 0:15:49 | 0:15:54 | |
this angel came along and showed me what the world would have been like | 0:15:54 | 0:15:57 | |
if Great Movie Mistakes had never happened. | 0:15:57 | 0:15:59 | |
And let me tell you, it wasn't pretty, it wasn't pretty at all. | 0:15:59 | 0:16:04 | |
Thankfully, here's some festive movie goofs. | 0:16:04 | 0:16:07 | |
HE COUGHS | 0:16:07 | 0:16:09 | |
Timeless, feel-good, Christmas classic, It's A Wonderful Life, now | 0:16:11 | 0:16:15 | |
and James Stewart has brought with him, a festive bog seat covered in holly | 0:16:15 | 0:16:18 | |
to really liven up the atmos in the smallest room. | 0:16:18 | 0:16:21 | |
ALL TALK AT ONCE | 0:16:21 | 0:16:23 | |
He puts it down... | 0:16:23 | 0:16:25 | |
Harry... | 0:16:25 | 0:16:26 | |
..but it immediately springs back up again. | 0:16:26 | 0:16:29 | |
He must have caught his sleeve on a sprig. | 0:16:29 | 0:16:32 | |
Dancing is prohibited at this municipal pool, James, | 0:16:35 | 0:16:38 | |
it's the rules. | 0:16:38 | 0:16:39 | |
And where's your bathing cap? | 0:16:43 | 0:16:45 | |
Don't you know stray hair clogs the filters? | 0:16:45 | 0:16:48 | |
Even more so when your entire toupee floats off. | 0:16:48 | 0:16:52 | |
Well, I hope that distracts him from any heavy petting with that lady. | 0:16:52 | 0:16:56 | |
Before the tobacco ad ban, | 0:17:00 | 0:17:02 | |
they said a pipe really does something for a man. | 0:17:02 | 0:17:05 | |
And here you can see they're not wrong. See this smoking chap? | 0:17:05 | 0:17:08 | |
Instant sex change. | 0:17:10 | 0:17:12 | |
Proof you should just say no to pipes, BBC Three viewers. | 0:17:12 | 0:17:15 | |
Wait a minute. | 0:17:15 | 0:17:16 | |
I think I've got a date. | 0:17:16 | 0:17:18 | |
The Santa Clause is a reasonably jolly movie | 0:17:20 | 0:17:22 | |
if there's nothing else on. | 0:17:22 | 0:17:25 | |
And here's Father Christmas himself, | 0:17:25 | 0:17:27 | |
having trouble doing his only job of the year. | 0:17:27 | 0:17:29 | |
But what's this? | 0:17:31 | 0:17:33 | |
I know people say there's a blanket of snow, | 0:17:33 | 0:17:35 | |
but that just looks like an actual blanket to me. | 0:17:35 | 0:17:38 | |
Watch the skies, says the sign on the movie theatre | 0:17:42 | 0:17:45 | |
in the still very entertaining and funny festive treat, Gremlins. | 0:17:45 | 0:17:49 | |
Actually, that sign should have said, | 0:17:53 | 0:17:55 | |
"Watch the hills," as they're green and free of snow, unlike the rest of the set. | 0:17:55 | 0:18:00 | |
Here, one of the crew must have had a late-night kebab and a couple of cans, | 0:18:03 | 0:18:07 | |
as they're clearly visible pushing over the Christmas tree. | 0:18:07 | 0:18:10 | |
Christmas spirit? Christmas lager, I wager. | 0:18:11 | 0:18:15 | |
Now viewers, here's something you really, really don't want to do. | 0:18:18 | 0:18:22 | |
And that's cut the cable for some fairy lights with | 0:18:22 | 0:18:25 | |
a pair of metal scissors while they're still on. | 0:18:25 | 0:18:28 | |
But, here all the lights stay on. | 0:18:28 | 0:18:31 | |
They must have matted out the stuntman who fried doing the scene. | 0:18:31 | 0:18:35 | |
What would we do without crime? | 0:18:35 | 0:18:38 | |
Eh? If we didn't have crime, the Godfather films would be | 0:18:38 | 0:18:41 | |
about a series of christenings, Sexy Beast would be just two hours | 0:18:41 | 0:18:44 | |
of shiny cockneys having a lovely holly bobs, and Oceans 11 to 13 | 0:18:44 | 0:18:47 | |
would be a dreary account of too many men making a deposit. | 0:18:47 | 0:18:51 | |
But, luckily there is crime. | 0:18:51 | 0:18:54 | |
Hurray for crime and all the films that are made about her. | 0:18:54 | 0:18:57 | |
Though, as you'll see, | 0:18:57 | 0:18:59 | |
crime movies are just as guilty of some inexcusable errors. | 0:18:59 | 0:19:04 | |
This is Drive, a soulless film about a character called The Driver, | 0:19:04 | 0:19:07 | |
who does driving... And crimes. | 0:19:07 | 0:19:09 | |
Here, the driver nudges a car off the cliff, the rotter. | 0:19:12 | 0:19:15 | |
But although he hits the door... | 0:19:17 | 0:19:19 | |
..it's the bumper that gets crumpled. | 0:19:20 | 0:19:23 | |
Which is going to play havoc with the no claims bonus. | 0:19:23 | 0:19:25 | |
Now for the dullest transformer ever. | 0:19:28 | 0:19:30 | |
A kind of Optimus Sub-prime. | 0:19:30 | 0:19:32 | |
The car that beeps at Ryan and Carey is clearly a silver Ford Focus. | 0:19:36 | 0:19:40 | |
But as it passes, it's equally clearly a blue Toyota. | 0:19:40 | 0:19:43 | |
Transformers, Toyota Corollas in disguise. | 0:19:45 | 0:19:48 | |
Sometimes in films, it's necessary to flip the shot, | 0:19:53 | 0:19:55 | |
for example if an actor has put his face on the wrong way round | 0:19:55 | 0:19:59 | |
or is frowning instead of smiling. | 0:19:59 | 0:20:01 | |
But hey, Drive film-makers, if you are going to flip the shot try to | 0:20:01 | 0:20:05 | |
do it when there's not lots of big writing on screen, yeah? | 0:20:05 | 0:20:08 | |
We have a bit of an underwear problem | 0:20:11 | 0:20:14 | |
in the moderately entertaining Man On A Ledge. | 0:20:14 | 0:20:16 | |
Joey is wearing his green undies | 0:20:16 | 0:20:18 | |
above his jeans because he is one of "da yoot". | 0:20:18 | 0:20:21 | |
But in the very same sequence they go all black. | 0:20:21 | 0:20:25 | |
This is why they normally don't let actors wear their own pants. | 0:20:25 | 0:20:29 | |
Robert De Niro is, of course, a follower of the Method School | 0:20:32 | 0:20:34 | |
developed by Lee Strasberg from the teachings of Stanislavsky. | 0:20:34 | 0:20:38 | |
Whereas Jason Statham supports Chelsea. | 0:20:40 | 0:20:43 | |
-What you doing? -I'm going to get my watch back. | 0:20:43 | 0:20:45 | |
This is the pacey but basic action movie Killer Elite. | 0:20:45 | 0:20:48 | |
De Niro's training is in evidence here as simply can't decide whether | 0:20:51 | 0:20:54 | |
his character would wear his watch in his back pocket | 0:20:54 | 0:20:58 | |
or on his wrist. | 0:20:58 | 0:20:59 | |
Jason now peevishly kicks a slat from the chair he's tied to | 0:21:04 | 0:21:08 | |
but such is his kinship with all things wooden, | 0:21:08 | 0:21:11 | |
he's repaired it by next time we see it. | 0:21:11 | 0:21:13 | |
Hi. It's me, Robert Webb. | 0:21:14 | 0:21:17 | |
I'm glad you could make it. | 0:21:17 | 0:21:18 | |
What's your name? | 0:21:18 | 0:21:19 | |
What a funny name. What a very funny name. | 0:21:23 | 0:21:26 | |
Would you like some wine? | 0:21:26 | 0:21:28 | |
Cheers. | 0:21:38 | 0:21:39 | |
-Cut. -You've just caught me making one of my new range of DVDs. | 0:21:42 | 0:21:47 | |
This one is like an interactive date. You know, | 0:21:47 | 0:21:49 | |
for lonely people who have basically given up. | 0:21:49 | 0:21:52 | |
But before they give up, they tend to go out on actual dates | 0:21:52 | 0:21:55 | |
to watch romantic movies. | 0:21:55 | 0:21:56 | |
It's the perfect opportunity to see incredibly attractive people | 0:21:56 | 0:21:59 | |
get up to all sorts of shenanigans on the bumpy road to love, | 0:21:59 | 0:22:02 | |
giving them magical memories to cry over later, alone. | 0:22:02 | 0:22:05 | |
And action! | 0:22:07 | 0:22:08 | |
Have you done something with your hair | 0:22:10 | 0:22:12 | |
if you're a woman, or trousers if you're a man? | 0:22:12 | 0:22:14 | |
Fancy a bonk? | 0:22:15 | 0:22:17 | |
Turgid bit of fluff Friends With Benefits now, | 0:22:19 | 0:22:22 | |
and this scene's designed to show us how fun this lady character is. | 0:22:22 | 0:22:25 | |
She outrageously draws on his face. | 0:22:28 | 0:22:31 | |
But here the marks have gone! | 0:22:31 | 0:22:33 | |
However, in the reflection, | 0:22:33 | 0:22:35 | |
there they are! | 0:22:35 | 0:22:37 | |
The marks are on his face. He bears the mark! | 0:22:37 | 0:22:40 | |
Ugh, tidying up, eh? It never ends. | 0:22:42 | 0:22:45 | |
That's what Justin Timberlake would be thinking about | 0:22:45 | 0:22:48 | |
if he weren't so focused on Mila Kunis's bottom. | 0:22:48 | 0:22:51 | |
Because no sooner has she taken out the rubbish from in front | 0:22:51 | 0:22:55 | |
of the sofa, than it appears again! | 0:22:55 | 0:22:57 | |
Chores. Huh! What are they good for? | 0:22:57 | 0:23:00 | |
-What? -Let's have sex like we're playing tennis. | 0:23:00 | 0:23:03 | |
Jacob is sending a text message to Sam in Anna's kitchen. | 0:23:06 | 0:23:10 | |
Upon being questioned who he is texting, | 0:23:10 | 0:23:12 | |
he puts his phone down in front of the laptop computer and goes. | 0:23:12 | 0:23:15 | |
This is twinkly-sunlight, wistful Handycam, John-Lewis-ad-style, | 0:23:22 | 0:23:26 | |
lower-sixth, romance film Like Crazy, and as you can guess, | 0:23:26 | 0:23:30 | |
I'm filling time until the bit where Anna goes to check, and the | 0:23:30 | 0:23:33 | |
phone has changed its position to the side of the computer instead. | 0:23:33 | 0:23:37 | |
Some heartfelt acting from a suitcase acting. | 0:23:40 | 0:23:42 | |
As refusing to be outshone by these two moppets, | 0:23:42 | 0:23:45 | |
it moves to his left. | 0:23:45 | 0:23:46 | |
I mean, guys, it's a pretty big suitcase. Why aren't they moving it? | 0:23:49 | 0:23:53 | |
I think I know why. | 0:23:53 | 0:23:55 | |
It casts no reflection in the window in the shots of her. | 0:23:55 | 0:23:58 | |
Perhaps it is a vampire suitcase... | 0:23:58 | 0:24:00 | |
It's the sentimental and weepy One Day, and Emma can't make up | 0:24:04 | 0:24:09 | |
her mind about her wine. | 0:24:09 | 0:24:11 | |
She turns to get a glass | 0:24:11 | 0:24:13 | |
but in the next shot she doesn't have the bottle | 0:24:13 | 0:24:16 | |
and goes to take it again. | 0:24:16 | 0:24:18 | |
She pours it out and puts the bottle on her right | 0:24:18 | 0:24:20 | |
and now it's on her left. | 0:24:20 | 0:24:22 | |
And she does a terrible accent but we'll spare you that madness. | 0:24:22 | 0:24:26 | |
You know, we're a forgiving bunch here at GMME, | 0:24:27 | 0:24:29 | |
and there's nothing we like better than seeing a mistake unmade. | 0:24:29 | 0:24:33 | |
That's why we're thrilled that next year there's a whole crop | 0:24:33 | 0:24:36 | |
of films which are going to be remade, re-released or done in 3-D. | 0:24:36 | 0:24:39 | |
Let's hope they do it right this time, | 0:24:39 | 0:24:42 | |
not like these original doofs. | 0:24:42 | 0:24:44 | |
Ground-breaking thrill-athon Jurassic Park | 0:24:44 | 0:24:47 | |
is released in 3-D next year, | 0:24:47 | 0:24:49 | |
and this scene of flocking dinosaurs will look amazing. | 0:24:49 | 0:24:52 | |
Can I say "flocking" pre-watershed? | 0:24:52 | 0:24:54 | |
Anyway, watch as they run past the kids, | 0:24:54 | 0:24:57 | |
only to disappear in the next shot as they turn and run away. | 0:24:57 | 0:25:01 | |
Dinosaurs are big and dangerous, yes? | 0:25:04 | 0:25:06 | |
They might escape, so you need a strong fence around the perimeter. | 0:25:06 | 0:25:10 | |
All the way round, no gaps. | 0:25:10 | 0:25:11 | |
Not like that massive one to the left of the gate. | 0:25:11 | 0:25:14 | |
Oh, my God, dinosaurs! We're all going to die. | 0:25:14 | 0:25:18 | |
Independence Day is getting a shiny new stereoscopic makeover in 2013, | 0:25:27 | 0:25:31 | |
and let's hope it's a better special edition than the dreadful | 0:25:31 | 0:25:35 | |
full-screen DVD release which revealed some astonishing clunkers. | 0:25:35 | 0:25:39 | |
When under attack from 15-mile high flying saucers, | 0:25:40 | 0:25:43 | |
what's the best thing to do? | 0:25:43 | 0:25:44 | |
Run for cover, arm yourself, stick your head between your legs, | 0:25:44 | 0:25:47 | |
wet yourself... Don't do those last two at the same time, by the way. | 0:25:47 | 0:25:52 | |
Well, these Washington sightseers opt to keep calm and carry on, | 0:25:52 | 0:25:56 | |
milling about and taking photos before the White House | 0:25:56 | 0:25:58 | |
is blown to smithereens. The fools! | 0:25:58 | 0:26:00 | |
Now what do we do? | 0:26:00 | 0:26:01 | |
Of course, being the official residence of the leader | 0:26:05 | 0:26:08 | |
of the free world, security in the White House is second to none. | 0:26:08 | 0:26:11 | |
But no missile defence strategy could catch this intruder, | 0:26:12 | 0:26:16 | |
who flummoxed them all by crawling on his hands and knees. Clever. | 0:26:16 | 0:26:20 | |
A new version of Robocop is coming in, well, 2014, but will | 0:26:27 | 0:26:32 | |
they solve the big mystery of the very satirical and violent original? | 0:26:32 | 0:26:36 | |
Pay attention to Robocop's chin strap. | 0:26:36 | 0:26:38 | |
As when he removes his helmet, where's my chinstrap? | 0:26:44 | 0:26:48 | |
He's a chinstrap-less wonder. | 0:26:48 | 0:26:49 | |
Perhaps 2013's Man Of Steel can match the awesomeness | 0:26:54 | 0:26:58 | |
of the best Superman movie, Superman II. | 0:26:58 | 0:27:00 | |
This is my favourite bit. | 0:27:00 | 0:27:02 | |
Where Non throws Daily Planet editor Perry White about. | 0:27:02 | 0:27:06 | |
He's terrified. | 0:27:06 | 0:27:08 | |
Thankfully, a kindly crewmember on the right of the screen | 0:27:08 | 0:27:11 | |
is there to hold his hand. Bless. | 0:27:11 | 0:27:12 | |
Oh, I hate goodbyes, don't you?! | 0:27:14 | 0:27:17 | |
I feel like we've got to know each other | 0:27:17 | 0:27:18 | |
so much better over the course of the show | 0:27:18 | 0:27:20 | |
and now we're going to be torn asunder like so much unwanted paper. | 0:27:20 | 0:27:23 | |
Let's not put ourselves through this. | 0:27:25 | 0:27:27 | |
I'll just close my eyes | 0:27:27 | 0:27:28 | |
and you can all gradually creep away from your televisions. | 0:27:28 | 0:27:32 | |
Maybe a little wave as you go, but nothing too emotional or else, | 0:27:32 | 0:27:35 | |
I promise you, I shall cry! | 0:27:35 | 0:27:37 | |
Shall we, then? Let's hope it's au revoir. | 0:27:37 | 0:27:41 | |
Have they gone? | 0:27:48 | 0:27:49 | |
Good. | 0:27:51 | 0:27:52 |