Browse content similar to Not in 3D. Check below for episodes and series from the same categories and more!
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The name's Webb, Robert Webb and I've got a license to kill... | 0:00:44 | 0:00:48 | |
the next two hours of your life, | 0:00:48 | 0:00:51 | |
with all the mistakes from the latest movie releases. | 0:00:51 | 0:00:53 | |
It's the return of the show that leaves the movie industry | 0:00:53 | 0:00:56 | |
shaken and stirred by pointing out | 0:00:56 | 0:00:58 | |
when it's made a right Thunderballs...up. | 0:00:58 | 0:01:01 | |
Our team of movie nerds have been on Her Majesty's secret service | 0:01:01 | 0:01:04 | |
to spot this year's brand new batch of movie clunkers. | 0:01:04 | 0:01:08 | |
They're for your eyes only and, believe me, Dr No...one will... | 0:01:08 | 0:01:12 | |
Sorry, I'm not going to do this for the whole show. | 0:01:12 | 0:01:14 | |
When I said I want a James Bond style opening, I thought you'd | 0:01:14 | 0:01:17 | |
give me fast cars, exotic locations and beautiful women, | 0:01:17 | 0:01:20 | |
not a dodgy tux and bad puns. | 0:01:20 | 0:01:22 | |
What, The Man With The Golden Pun? Yeah, very strong. | 0:01:22 | 0:01:25 | |
Yeah, great. That's it, forget it. That's the last straw. | 0:01:25 | 0:01:29 | |
Get Keith Lemon! | 0:01:29 | 0:01:30 | |
That's better. There'll be no more of that nonsense. | 0:01:32 | 0:01:35 | |
Instead, we're going to review clip after clip | 0:01:35 | 0:01:38 | |
of the greatest movie mistakes from this year's films | 0:01:38 | 0:01:41 | |
and my word is my bond. | 0:01:41 | 0:01:43 | |
Hang on! | 0:01:43 | 0:01:45 | |
Don't sequels just do your heads in? | 0:02:02 | 0:02:04 | |
It seems that, nowadays, people can't just let a good thing happen | 0:02:04 | 0:02:07 | |
without exploiting it over and over again. | 0:02:07 | 0:02:10 | |
Repeating the same tired formula until there's nothing original left. | 0:02:10 | 0:02:13 | |
At least that's what we think here at Movie Mistakes...Three. | 0:02:13 | 0:02:17 | |
Statistically, sequels gross more at the box office | 0:02:17 | 0:02:20 | |
than the first film in a series, so do prequels. | 0:02:20 | 0:02:23 | |
So I've come up with a plan, make the second film first, | 0:02:23 | 0:02:26 | |
then do the first film second, but because you've made the second film | 0:02:26 | 0:02:30 | |
first, the second film, which is in fact the first film, | 0:02:30 | 0:02:33 | |
will technically be a prequel. Ker-ching! | 0:02:33 | 0:02:36 | |
The best thing about sequels is that they get to have subtitles. | 0:02:36 | 0:02:40 | |
Terminator 2, Judgement Day, Babe 2 - Pig In The City, | 0:02:40 | 0:02:43 | |
Garfield 2 - who allowed this to get made. | 0:02:43 | 0:02:46 | |
The foreboding and climactic Harry Potter And The Deathly Hallows. | 0:02:48 | 0:02:52 | |
Here, the charmingly named Mundungus knocks over a stack of newspapers. | 0:02:52 | 0:02:57 | |
Listen, I panicked... | 0:02:57 | 0:02:59 | |
Daily Prophets everywhere. | 0:02:59 | 0:03:01 | |
But, perhaps a special cleaning spell is used as, later on, | 0:03:02 | 0:03:06 | |
we see the papers are neatly stacked again. | 0:03:06 | 0:03:08 | |
Abracadabra? Abraca-bad-ra. | 0:03:08 | 0:03:12 | |
Harry Potter critics say it became a little repetitive towards the end. | 0:03:16 | 0:03:20 | |
-I think that's a bit unfair. -They're after you, mate. | 0:03:20 | 0:03:22 | |
Oh, hang on, that waitress covers the same piece of ground twice. | 0:03:22 | 0:03:26 | |
What about all the people the wedding? | 0:03:27 | 0:03:29 | |
There she goes... | 0:03:29 | 0:03:30 | |
and there she goes again. | 0:03:30 | 0:03:32 | |
Maybe they had a point after all. | 0:03:32 | 0:03:34 | |
Helena Bonham Carter straddling Emma Watson is a sight to get any | 0:03:36 | 0:03:41 | |
Harry Potter fan-boy hot and bothered, but not like that. | 0:03:41 | 0:03:44 | |
I'm talking about this massive movie clunker. | 0:03:44 | 0:03:47 | |
SHE SCREAMS | 0:03:47 | 0:03:50 | |
She goes to carve into her right arm, | 0:03:53 | 0:03:55 | |
then, suddenly, she's attacking her left. | 0:03:55 | 0:03:57 | |
It's awful. There's not even any mud for them to fight in. | 0:03:59 | 0:04:02 | |
Ah, pirates - making alcoholism fun! | 0:04:05 | 0:04:08 | |
It's the boisterous Pirates Of The Caribbean 4. | 0:04:08 | 0:04:11 | |
And, as Geoffrey Rush tilts his hollow leg high to get a drink, | 0:04:12 | 0:04:16 | |
Jack Sparrow wants a taste. | 0:04:16 | 0:04:18 | |
I want one of those. | 0:04:18 | 0:04:20 | |
Sadly, his hands are tied and could never tilt the leg high enough. | 0:04:20 | 0:04:24 | |
Here's to revenge - sweet and clear. | 0:04:24 | 0:04:27 | |
Revenge. | 0:04:28 | 0:04:30 | |
How'd he do that? | 0:04:30 | 0:04:31 | |
Come, Hector. | 0:04:31 | 0:04:32 | |
It's the flaccid Little Fockers | 0:04:34 | 0:04:37 | |
and here's Jessica Alba dropping off Ben Stiller in a lovely | 0:04:37 | 0:04:40 | |
car with black seats. | 0:04:40 | 0:04:42 | |
-Are you sure you're going to be OK? -Yeah. | 0:04:43 | 0:04:45 | |
Well, it's not him you should worry about, it's your car | 0:04:45 | 0:04:48 | |
because over night...the seats have turned white. | 0:04:48 | 0:04:51 | |
You OK? | 0:04:51 | 0:04:52 | |
Following the example of Dustin Hoffman's hair. | 0:04:52 | 0:04:56 | |
Oh, it's the atmospheric Paranormal Activity 2. | 0:04:59 | 0:05:02 | |
BANG | 0:05:02 | 0:05:03 | |
And there's some spooky goings on in this household. | 0:05:03 | 0:05:06 | |
Oh, keep an eye on the pots and pans hanging from the rack. | 0:05:07 | 0:05:10 | |
That's enough. | 0:05:10 | 0:05:12 | |
Oooh, they keep changing colour and shape. | 0:05:13 | 0:05:16 | |
A poltergeist or cock-up? | 0:05:17 | 0:05:20 | |
You decide. | 0:05:20 | 0:05:21 | |
You know, it takes so much time and money | 0:05:23 | 0:05:26 | |
to CGI those robots in Transformers, | 0:05:26 | 0:05:28 | |
I'd just not bother putting them in every shot. | 0:05:28 | 0:05:32 | |
I mean, who's going to notice? | 0:05:32 | 0:05:34 | |
Unfortunately, we are! | 0:05:34 | 0:05:36 | |
Keep an eye on this character, Brains, who transforms into | 0:05:36 | 0:05:40 | |
thin air! | 0:05:40 | 0:05:41 | |
Shame this film can't transform into a good one. | 0:05:41 | 0:05:44 | |
That's what you love about me. | 0:05:44 | 0:05:46 | |
You've got some BLEEP. | 0:05:48 | 0:05:50 | |
It's annoying when there's loads of action going on. | 0:05:50 | 0:05:53 | |
There's never time to shave, is there, Shia Labeouf? | 0:05:53 | 0:05:55 | |
Especially when you're getting attacked by a flying robot. | 0:05:59 | 0:06:03 | |
No! | 0:06:05 | 0:06:07 | |
But, wait a second, he hasn't, has he? | 0:06:07 | 0:06:11 | |
From Shia Labeouf to sheered Labeouf. | 0:06:11 | 0:06:15 | |
You think you're a hero... | 0:06:17 | 0:06:19 | |
It's near the end of transformers and time is tight. | 0:06:19 | 0:06:22 | |
Who's the messenger? | 0:06:22 | 0:06:23 | |
But look at this clock, it's got a mind of it's own. | 0:06:23 | 0:06:26 | |
Starting at 2:20. | 0:06:26 | 0:06:28 | |
It jumps back to 12:15... | 0:06:32 | 0:06:35 | |
..and then back further to 11 o'clock. | 0:06:37 | 0:06:40 | |
It's like Back To The Future, but with robots | 0:06:40 | 0:06:43 | |
and without Michael J Fox. | 0:06:43 | 0:06:45 | |
Actually, forget it, it's nothing like Back To The Future. | 0:06:45 | 0:06:48 | |
Last clip from Transformers and lucky old sheered Labeouf is getting | 0:06:50 | 0:06:54 | |
a snog from his latest supermodel girlfriend. | 0:06:54 | 0:06:58 | |
But take a look at her mucky paws. | 0:06:58 | 0:07:00 | |
I'm going to hold you to that. | 0:07:00 | 0:07:02 | |
They keep changing from clean and over his shoulders, | 0:07:02 | 0:07:05 | |
to dirty and on his face. | 0:07:05 | 0:07:07 | |
The most popular genre of the moment seems to be the superheroes. | 0:07:12 | 0:07:16 | |
Spiderman, Superman, Natalie Port-man, X-men, that's another one. | 0:07:16 | 0:07:20 | |
I've always found their name confusing. | 0:07:20 | 0:07:23 | |
X-men, they're ex-men. So they're women. | 0:07:23 | 0:07:26 | |
If that's the case, I suppose that explains | 0:07:26 | 0:07:29 | |
why I fancy Wolverine so very much. | 0:07:29 | 0:07:31 | |
Everyone is quick to talk about superheroes, but no-one | 0:07:31 | 0:07:34 | |
in interested in the real life heroes. | 0:07:34 | 0:07:36 | |
For me, my hero in life has always been my old English teacher. | 0:07:36 | 0:07:39 | |
He was caring and passionate, a real inspiration to all he taught | 0:07:39 | 0:07:43 | |
and by night, he donned a mask and cape | 0:07:43 | 0:07:45 | |
and went out and fought criminals. | 0:07:45 | 0:07:47 | |
I'll never forget you, Mr Batman. | 0:07:47 | 0:07:50 | |
Now it's time for breakneck action hit X-Men First Class. | 0:07:52 | 0:07:56 | |
But that isn't a history class, | 0:07:56 | 0:07:59 | |
as while they may be flashing back to 1944... | 0:07:59 | 0:08:03 | |
that photo of Einstein was taken in 1947. | 0:08:03 | 0:08:07 | |
Class dismissed. | 0:08:08 | 0:08:10 | |
Here's James McAvoy as superhero, Professor Xavier. | 0:08:14 | 0:08:17 | |
But every superhero has his weakness and for Xavier, it's windows. | 0:08:17 | 0:08:21 | |
See that? | 0:08:23 | 0:08:24 | |
I read the teleporter's mind. | 0:08:25 | 0:08:26 | |
Ouch! He bangs his head against the glass. | 0:08:26 | 0:08:30 | |
Curse you, window, I'll get you next time! | 0:08:30 | 0:08:31 | |
I read the teleporter's mind. | 0:08:31 | 0:08:33 | |
Now, James is rightly thinking twice | 0:08:35 | 0:08:38 | |
about shooting his mate in the head. | 0:08:38 | 0:08:40 | |
But look at the distance the gun is from his head, | 0:08:40 | 0:08:43 | |
it changes with every shot. | 0:08:43 | 0:08:45 | |
That's every shot of the camera, not of the gun, thankfully. | 0:08:45 | 0:08:49 | |
No, I can't. | 0:08:49 | 0:08:50 | |
Now have the animators made an error here? Look at Emma Frost - | 0:08:52 | 0:08:55 | |
she's the one that's a woman. | 0:08:55 | 0:08:58 | |
When she changes from diamonds back to human | 0:08:58 | 0:09:01 | |
her hair style changes. | 0:09:01 | 0:09:03 | |
Here it's loose. | 0:09:05 | 0:09:06 | |
Now tied back. | 0:09:06 | 0:09:07 | |
We don't harm our own kind. | 0:09:07 | 0:09:09 | |
With her hair in that state, she must have been made from uncut diamonds. | 0:09:09 | 0:09:13 | |
On to the let down that was Green Lantern | 0:09:15 | 0:09:18 | |
and this guy is ecstatic because all day, he's been trying to keep | 0:09:18 | 0:09:21 | |
his slippery headphones on his head and now he's finally made them... | 0:09:21 | 0:09:25 | |
Oh. Oh well. Back to the drawing board. | 0:09:25 | 0:09:28 | |
Take a look at Ryan Reynolds brown eyes. | 0:09:32 | 0:09:35 | |
You know, you can't be a pilot if you're colour blind. | 0:09:35 | 0:09:37 | |
Maybe they should have the same rule for casting directors because, | 0:09:39 | 0:09:42 | |
according to this film, when he was younger, he had blue eyes. | 0:09:42 | 0:09:47 | |
It's Ken Branagh's smart take on Thor. | 0:09:50 | 0:09:52 | |
But where's the cock-up? | 0:09:52 | 0:09:54 | |
As Dylan says, the answer, my friend, is blowing in the wind. | 0:09:55 | 0:09:59 | |
Look at that stiff breeze blowing their hair across their faces... | 0:10:01 | 0:10:05 | |
that suddenly disappears... and it returns. | 0:10:05 | 0:10:09 | |
Misquoting Dylan again, let's hope, at that height, they're not sitting on the eves of destruction. | 0:10:09 | 0:10:15 | |
I try, I fail. | 0:10:15 | 0:10:17 | |
I'm going to get everything back. | 0:10:17 | 0:10:19 | |
In this scene, it's tipping it down with rain | 0:10:22 | 0:10:25 | |
and everyone's getting soaking wet. | 0:10:25 | 0:10:28 | |
Apart from the guy from The Hurt Locker, | 0:10:29 | 0:10:31 | |
who keeps a dry face at all times. | 0:10:31 | 0:10:34 | |
With that condition, he must get through a hell of a lot of Nivea. | 0:10:35 | 0:10:39 | |
Thor, again, and an exciting moment where a coffee spills over. | 0:10:41 | 0:10:46 | |
But there's no use crying over it because, | 0:10:50 | 0:10:52 | |
in just a matter of seconds, it goes from being knocked over | 0:10:52 | 0:10:56 | |
to upright again. | 0:10:56 | 0:10:58 | |
Better latte than never. | 0:10:59 | 0:11:01 | |
In my opinion, a good movie always leaves you asking questions. | 0:11:03 | 0:11:07 | |
Who was Keyser Soze? | 0:11:07 | 0:11:09 | |
How did Nice Guy Eddie get shot? And, dude, where is my car? | 0:11:09 | 0:11:12 | |
but this selection of clunkers is so terrible, it will leave you | 0:11:12 | 0:11:17 | |
asking only one question. What were they thinking? | 0:11:17 | 0:11:20 | |
Very geeky comedy with the film Paul, now, | 0:11:22 | 0:11:25 | |
and the invisible alien looks at Nick Frost's passport. | 0:11:25 | 0:11:28 | |
But it should say British citizen and not British subject. | 0:11:31 | 0:11:34 | |
Could be worse, it could be French subject. | 0:11:34 | 0:11:37 | |
That was always my least favourite subject. | 0:11:37 | 0:11:39 | |
He's from another world. | 0:11:42 | 0:11:44 | |
Take a look at the green oven mitt on the wall. | 0:11:44 | 0:11:46 | |
It's about to disappear. | 0:11:46 | 0:11:48 | |
If it makes you feel any better, my existence... | 0:11:48 | 0:11:50 | |
There it goes. | 0:11:50 | 0:11:52 | |
That's the thing about sci-fi films, I mean, the rule book is thrown | 0:11:52 | 0:11:55 | |
out of the window. | 0:11:55 | 0:11:56 | |
# Amazing grace... # | 0:11:56 | 0:11:57 | |
In fact, I bet they did it on purpose. | 0:11:57 | 0:12:00 | |
I bet it represents something like, you know, us, | 0:12:00 | 0:12:03 | |
like, are we really hear or are we just... | 0:12:03 | 0:12:06 | |
Oh, yeah. | 0:12:06 | 0:12:08 | |
Oh, never mind, it's back. | 0:12:08 | 0:12:09 | |
Turns out it just represents a mistake they made. | 0:12:09 | 0:12:12 | |
And now fireworks. Remember the code... | 0:12:14 | 0:12:17 | |
That'll put us behind the tree... | 0:12:17 | 0:12:19 | |
..light them at an arms length... | 0:12:19 | 0:12:21 | |
Hey! Watch the fuse! | 0:12:21 | 0:12:22 | |
..stand well back... | 0:12:22 | 0:12:23 | |
That's not funny. | 0:12:23 | 0:12:24 | |
..and take your head torch off twice. | 0:12:24 | 0:12:26 | |
Arrh. Boom! | 0:12:26 | 0:12:29 | |
But watch Pegg's head torch. He just lets it vanish. | 0:12:35 | 0:12:38 | |
He's no responsible adult. | 0:12:40 | 0:12:42 | |
Pretentious arty action in Hanna. | 0:12:46 | 0:12:49 | |
Here, Cate Blanchett runs up a flight of stairs in comfy shoes, | 0:12:49 | 0:12:53 | |
dropping her monkey head along the way. | 0:12:53 | 0:12:55 | |
No time to worry about simian head gear, there's a child to chase. | 0:12:56 | 0:12:59 | |
But, apparently, plenty of time to change shoes. | 0:13:05 | 0:13:08 | |
Let's see that again. | 0:13:08 | 0:13:10 | |
Before you can say, "Here come the girls," she's in boots! | 0:13:13 | 0:13:16 | |
Here's Hanna herself and I know what you're thinking, | 0:13:20 | 0:13:24 | |
Hanna was brought up as a trained assassin in isolation | 0:13:24 | 0:13:27 | |
near the arctic circle, so how come she's got pierced ears? | 0:13:27 | 0:13:30 | |
This movie has more holes than Hanna's lobes. | 0:13:31 | 0:13:34 | |
Hanna's having a face-to-face chat with her friend Sophie, | 0:13:37 | 0:13:41 | |
lying on her left hand side. | 0:13:41 | 0:13:43 | |
And here's Sophie who, for some reason, | 0:13:43 | 0:13:45 | |
appears to be also lying on her left side. | 0:13:45 | 0:13:47 | |
So, how are they face-to-face? | 0:13:48 | 0:13:51 | |
I like you. | 0:13:51 | 0:13:52 | |
Look me in the eye and answer me! | 0:13:52 | 0:13:54 | |
I'd like to have a friend. | 0:13:55 | 0:13:57 | |
In the soppy Just Wright, | 0:13:59 | 0:14:01 | |
Scott walks Leslie over to a covered object shaped very much like a car. | 0:14:01 | 0:14:06 | |
She asks what it is and he reveals, to her great surprise... | 0:14:06 | 0:14:11 | |
that it's a car. | 0:14:11 | 0:14:12 | |
No, you didn't! | 0:14:12 | 0:14:15 | |
But keep your eye on the antenna. | 0:14:15 | 0:14:17 | |
It's visible even though the car's covered | 0:14:17 | 0:14:19 | |
and doesn't move with the fabric. | 0:14:19 | 0:14:22 | |
Just WRIGHT?! Just WRONG more, like! | 0:14:25 | 0:14:28 | |
ROBERT WEBB CHUCKLES | 0:14:28 | 0:14:30 | |
Here's the moribund Something Borrowed. | 0:14:32 | 0:14:34 | |
Keep an eye on the girl on the far left fast asleep. | 0:14:34 | 0:14:38 | |
Now she's wide awake and catching up on the latest gossip in Grazia. | 0:14:40 | 0:14:44 | |
Can't have been a very interesting article because, look, | 0:14:44 | 0:14:46 | |
sleeping on the job again. A bit like the continuity editor. | 0:14:46 | 0:14:51 | |
On to the tongue-in-cheek Red now and here's lovely Helen Mirren | 0:14:54 | 0:14:57 | |
looking glamorous, | 0:14:57 | 0:14:58 | |
but then she could make a cheap plastic watch look glamorous. | 0:14:58 | 0:15:02 | |
Which must be exactly what she's done | 0:15:02 | 0:15:05 | |
as while the necklace sets off the metal detector, | 0:15:05 | 0:15:10 | |
the watch doesn't. | 0:15:10 | 0:15:11 | |
Still with Red and here, | 0:15:15 | 0:15:16 | |
Bruce Willis gets a little help with his handcuffs. | 0:15:16 | 0:15:19 | |
He's handed a key, but wait a second, | 0:15:19 | 0:15:23 | |
the handcuffs aren't even locked. | 0:15:23 | 0:15:25 | |
How much help do you need, Bruce? | 0:15:27 | 0:15:29 | |
Do you want him to tie your shoelaces while he's at it? | 0:15:29 | 0:15:32 | |
You can't beat watching a film in 3D. | 0:15:34 | 0:15:35 | |
Not only do things jump out the screen at you, | 0:15:35 | 0:15:37 | |
but when you get to any rude bits, you can do this. Ho-ho! | 0:15:37 | 0:15:43 | |
3D films are making huge waves at the moment, | 0:15:43 | 0:15:46 | |
but what will be the next step? 4D? 5D? | 0:15:46 | 0:15:48 | |
Here at Movie Mistakes 3, we can reveal the latest | 0:15:48 | 0:15:51 | |
technological advancement that's about to take Hollywood by storm - | 0:15:51 | 0:15:55 | |
8D. | 0:15:55 | 0:15:57 | |
I'm about to watch the latest Saw movie. OK! | 0:15:57 | 0:16:01 | |
HE SCREAMS | 0:16:02 | 0:16:03 | |
Turn it off! Turn it off! | 0:16:03 | 0:16:06 | |
I think I'm going to stick to 2D. | 0:16:09 | 0:16:12 | |
Dreary TRON: Legacy now and look at the dangerous driving. | 0:16:15 | 0:16:20 | |
Surely he can't get away with this. | 0:16:20 | 0:16:22 | |
He won't because the police have clocked him with a speed gun. | 0:16:23 | 0:16:26 | |
But the police seem to have failed to spot the fact that everyone | 0:16:26 | 0:16:29 | |
is driving the wrong way down that road. | 0:16:29 | 0:16:33 | |
It's impossible to catch a cab in New York, | 0:16:36 | 0:16:38 | |
so why not let a cab catch you? | 0:16:38 | 0:16:41 | |
Watch out, here come the police. | 0:16:42 | 0:16:45 | |
Here they are. | 0:16:47 | 0:16:48 | |
You pay! | 0:16:48 | 0:16:49 | |
And here they are again. | 0:16:50 | 0:16:53 | |
Oh, he looks hard(!) | 0:16:58 | 0:17:00 | |
As this poor lady's about to find out. | 0:17:00 | 0:17:03 | |
You don't want to fight him. | 0:17:03 | 0:17:05 | |
Look at the neon strip on her right leg. | 0:17:05 | 0:17:08 | |
He's so tough, he can kick someone's trousers back to front. | 0:17:09 | 0:17:13 | |
See, the strip is on the opposite side... | 0:17:13 | 0:17:16 | |
and her side parting too. | 0:17:16 | 0:17:18 | |
What a guy. | 0:17:18 | 0:17:20 | |
A CGI Jeff Bridges speaks to his army of baddie motorcycle couriers. | 0:17:23 | 0:17:27 | |
There's clearly no-one standing directly in front of him. Look. | 0:17:27 | 0:17:33 | |
But the reflection in his visor suggests he's dead opposite him. | 0:17:34 | 0:17:38 | |
He must have pushed his way to the front. | 0:17:38 | 0:17:42 | |
What a crawler! | 0:17:42 | 0:17:44 | |
Jackass 3D now and those hardcore lunatics | 0:17:46 | 0:17:49 | |
take on one of my biggest fears - self-assembled furniture. | 0:17:49 | 0:17:53 | |
Watch the corner of the room where the plant is, | 0:17:53 | 0:17:56 | |
because in no time at all, they're going to put up... | 0:17:56 | 0:18:00 | |
a bookcase! | 0:18:00 | 0:18:01 | |
Jackass 3D is amazing. | 0:18:01 | 0:18:03 | |
It really feels like they're bursting through your telly. | 0:18:03 | 0:18:07 | |
See! | 0:18:07 | 0:18:09 | |
Piranha 3D full of action, gore and mistakes. | 0:18:13 | 0:18:17 | |
Here sheriff Elizabeth Shue falls in a big lake. | 0:18:17 | 0:18:21 | |
Deputy fellow manages to get her out | 0:18:22 | 0:18:24 | |
but moments later, she's bone dry. What a mistake. | 0:18:24 | 0:18:28 | |
They should shoot the sheriff and the deputy for that one. | 0:18:28 | 0:18:31 | |
Now, what's this idiot up to? | 0:18:35 | 0:18:36 | |
You can't put a walkie-talkie in water. | 0:18:36 | 0:18:40 | |
Oi, mate! They're not called swimmie-talkies, are they? | 0:18:40 | 0:18:43 | |
It'll short-circuit. | 0:18:43 | 0:18:45 | |
But in Piranha 3D anything can happen, even if it shouldn't. | 0:18:45 | 0:18:51 | |
OK, I'm in. | 0:18:51 | 0:18:52 | |
And the walkie-talkie works perfectly. | 0:18:52 | 0:18:54 | |
'Do you copy?' | 0:18:54 | 0:18:55 | |
The dim-witted Resident Evil: Afterlife | 0:18:59 | 0:19:01 | |
and Milla Jovovich is taking down some baddies. | 0:19:01 | 0:19:04 | |
As most ladies will tell you, | 0:19:04 | 0:19:06 | |
although you may turn up at work in killer heels, | 0:19:06 | 0:19:09 | |
keep a comfy pair of shoes in your bag, just in case you have to... | 0:19:09 | 0:19:14 | |
you know, run up a wall. | 0:19:14 | 0:19:15 | |
But like any good hero, she wants to be buried in her boots | 0:19:20 | 0:19:24 | |
and her heels are back on. | 0:19:24 | 0:19:27 | |
Back to killing baddies again | 0:19:30 | 0:19:32 | |
and these zombies are almost on top of our heroes. | 0:19:32 | 0:19:36 | |
But while everyone escapes, Milla stays to face certain doom. | 0:19:36 | 0:19:41 | |
Oh, what a shame, Milla. | 0:19:41 | 0:19:42 | |
All those things you wanted to do before you died | 0:19:42 | 0:19:45 | |
and now there's no time. | 0:19:45 | 0:19:47 | |
Oh, hold on, they're suddenly miles away. | 0:19:50 | 0:19:52 | |
Hooray! Now you've got time to do that lifelong ambition - | 0:19:52 | 0:19:56 | |
a bungee jump. | 0:19:56 | 0:19:58 | |
Whoopee! | 0:19:58 | 0:19:59 | |
That's pretty smart thinking. | 0:20:01 | 0:20:03 | |
Now, this chap has a gun trained on Milla. | 0:20:03 | 0:20:07 | |
Stop right there. | 0:20:07 | 0:20:09 | |
And this other bloke looks nasty. | 0:20:09 | 0:20:11 | |
There's no way out of this one. | 0:20:11 | 0:20:13 | |
If only the gunman was as close enough to kick as those knives. | 0:20:13 | 0:20:17 | |
Oh, now he is! | 0:20:17 | 0:20:18 | |
Well, it was either that or grow telescopic legs. | 0:20:18 | 0:20:22 | |
They say you should never meet your heroes, | 0:20:27 | 0:20:30 | |
which I guess is why no-one ever comes up to me in the street | 0:20:30 | 0:20:32 | |
and tells me how much they love my work. | 0:20:32 | 0:20:34 | |
Thanks, guys. That means a lot(!) | 0:20:34 | 0:20:36 | |
Everytime someone crosses the street to avoid meeting me, | 0:20:36 | 0:20:39 | |
I think to myself, "There goes a true fan." | 0:20:39 | 0:20:42 | |
The hard-boiled and vicious Mechanic goes a bit Weekend At Bernie's | 0:20:48 | 0:20:52 | |
as Jason Statham covers up his killing by making the corpse | 0:20:52 | 0:20:56 | |
swim a few more lengths. | 0:20:56 | 0:20:57 | |
But look at his grip on the dead man's wrists. | 0:21:01 | 0:21:04 | |
It should clearly be visible from above, | 0:21:04 | 0:21:07 | |
but it's not. | 0:21:07 | 0:21:08 | |
What would Bernie say? | 0:21:08 | 0:21:11 | |
Well, nothing. He's dead. | 0:21:11 | 0:21:13 | |
Angelina Jolie in the disjointed film Salt, | 0:21:15 | 0:21:19 | |
here climbs down a lift shaft. | 0:21:19 | 0:21:21 | |
Just a wait few minutes for the lift, you impatient madam. | 0:21:23 | 0:21:26 | |
Thankfully, she emerges from what must be | 0:21:28 | 0:21:30 | |
a filthy and greasy lift shaft | 0:21:30 | 0:21:32 | |
with a pristine white shirt and clean, spotless skin. | 0:21:32 | 0:21:35 | |
How does she do it? | 0:21:35 | 0:21:37 | |
It's the crackpot action movie Red | 0:21:41 | 0:21:43 | |
and Bruce Willis has kidnapped a lady and taped up her mouth. | 0:21:43 | 0:21:47 | |
But the more she gesticulates, the more we can see that | 0:21:47 | 0:21:50 | |
she has enough movement in her arms to take the tape off. | 0:21:50 | 0:21:54 | |
Maybe if she stopped complaining and thought a second she'd work it out. | 0:21:54 | 0:21:58 | |
I'm a little hungry too. | 0:21:58 | 0:21:59 | |
Moody revenge film Faster now and The Rock hears an eagle call. | 0:22:01 | 0:22:06 | |
# Who's that riding? # | 0:22:08 | 0:22:10 | |
Trouble is, the bird he's seeing is actually a seagull. | 0:22:10 | 0:22:13 | |
Maybe the seagull thinks it'll sound more impressive as an eagle. | 0:22:15 | 0:22:20 | |
A bit like calling yourself "The Rock," | 0:22:20 | 0:22:23 | |
when your real name is Dwayne. | 0:22:23 | 0:22:25 | |
It's the best actor of his generation, 50 Cent, | 0:22:28 | 0:22:32 | |
in the very flat Blood Out | 0:22:32 | 0:22:33 | |
doing some incredible sunglasses acting. | 0:22:33 | 0:22:36 | |
Look good on you, man. | 0:22:36 | 0:22:38 | |
They do look good on him, don't they? | 0:22:38 | 0:22:40 | |
He should never take them off. | 0:22:40 | 0:22:42 | |
Oh, wait a minute, they've disappeared. | 0:22:45 | 0:22:47 | |
That's awful continuity if you want my 50 cents on the matter. | 0:22:47 | 0:22:51 | |
And now, major movie storyline faults | 0:22:53 | 0:22:56 | |
are reviewed and exposed in Great Pothole Mistakes. | 0:22:56 | 0:23:01 | |
In the spooky and surprising Sixth Sense, | 0:23:01 | 0:23:03 | |
Bruce Willis plays Dr Malcolm Crowe, | 0:23:03 | 0:23:05 | |
a child psychologist who gets shot by a former patient | 0:23:05 | 0:23:08 | |
and, ten months later, befriends a troubled young boy | 0:23:08 | 0:23:11 | |
who can see dead people. | 0:23:11 | 0:23:13 | |
One of whom, it turns out, is Dr Crowe, raising the question | 0:23:13 | 0:23:16 | |
how good a doctor is he that it took him ten months | 0:23:16 | 0:23:19 | |
to diagnose his own death? | 0:23:19 | 0:23:20 | |
Surely there were clues. | 0:23:20 | 0:23:22 | |
Like his wife crying into her dinner for one. | 0:23:24 | 0:23:27 | |
Or when she went to a funeral he wasn't invited to. | 0:23:27 | 0:23:29 | |
Or when she took up starfishing in bed. | 0:23:29 | 0:23:33 | |
And then there must have been his sudden lack of bar presence, | 0:23:33 | 0:23:36 | |
and having is phone cut off and not needing the toilet. | 0:23:36 | 0:23:40 | |
And being able to go to the flicks without paying. | 0:23:43 | 0:23:45 | |
And even if his unrequited sexual advances towards his wife | 0:23:47 | 0:23:51 | |
were nothing new, surely when she made the bed with him still in it | 0:23:51 | 0:23:55 | |
he must have wondered what the blazes was afoot. | 0:23:55 | 0:23:59 | |
"Sorry, I'm still here." | 0:23:59 | 0:24:01 | |
You stole the distinctive autumnal tones of my seminal movie. | 0:24:01 | 0:24:05 | |
Be gone! | 0:24:05 | 0:24:06 | |
Awards - what are they good for? | 0:24:09 | 0:24:12 | |
Plumping up the already inflated egos of pampered performers. | 0:24:12 | 0:24:15 | |
Rewarding someone for doing a job they've already been paid | 0:24:15 | 0:24:18 | |
far too much money to do in the first place. | 0:24:18 | 0:24:20 | |
As if all performers have a pathetic obsession with recognition. | 0:24:20 | 0:24:24 | |
Awards are a complete sham, a massive waste of time | 0:24:24 | 0:24:27 | |
and, as I stated very loudly at this year's Annual Clip Show Awards, | 0:24:27 | 0:24:30 | |
I'm not interested in stupid awards and, yes, we have been passed over | 0:24:30 | 0:24:34 | |
yet again and, yes, I may have been removed by security | 0:24:34 | 0:24:37 | |
for causing a scene, but there is no way that | 0:24:37 | 0:24:39 | |
Animal Foul Ups deserved to win again. | 0:24:39 | 0:24:42 | |
Speaking of awards, here are some Oscar-nominated clips. | 0:24:42 | 0:24:46 | |
Inception - where strange things happen almost without explanation. | 0:24:50 | 0:24:53 | |
That's not the way I deal with things. | 0:24:53 | 0:24:56 | |
Maybe that's how you justify the rain on the window behind Saito. | 0:24:56 | 0:25:00 | |
But there's no rain on DiCaprio. | 0:25:00 | 0:25:02 | |
And the continuity editor is thrown off the building | 0:25:03 | 0:25:07 | |
-for one too many errors. -What will you do with him? -Nothing. | 0:25:07 | 0:25:10 | |
You'd have thought working on Inception would be a dream job. | 0:25:10 | 0:25:13 | |
Now a maths lesson from revealing biopic The Social Network. | 0:25:18 | 0:25:21 | |
Facebook's run by some of the greatest business minds in the world. | 0:25:21 | 0:25:25 | |
So these numbers will be meticulously crunched. | 0:25:25 | 0:25:28 | |
Let's listen to how their business is divided up. | 0:25:28 | 0:25:31 | |
That represents a 34.4% ownership share. | 0:25:31 | 0:25:34 | |
So Eduardo owns 34.4%. | 0:25:34 | 0:25:38 | |
-You should know that Mark has already taken his percentage from 60 down to 51. -Oh. | 0:25:38 | 0:25:43 | |
Zuckerberg owns 51%. | 0:25:43 | 0:25:45 | |
Who else is in? | 0:25:45 | 0:25:47 | |
Dustin Moskovitz owns 6.81%, | 0:25:47 | 0:25:49 | |
Sean Parker 6.47% and Peter Thiel 7%. | 0:25:49 | 0:25:55 | |
Total 105%! | 0:25:55 | 0:25:57 | |
Would you like to use my pen? | 0:25:57 | 0:26:00 | |
Would you like to use my calculator? | 0:26:00 | 0:26:03 | |
Ooh, the brutal and uncompromising Black Swan now | 0:26:07 | 0:26:10 | |
and check out Natalie Portman's scarf. | 0:26:10 | 0:26:13 | |
Did she kill a white swan to make it? | 0:26:13 | 0:26:15 | |
Anyway, she's about to step through a magical door. | 0:26:15 | 0:26:18 | |
Why is it a magical door? | 0:26:18 | 0:26:20 | |
Because as she steps through it, her scarf's no longer round her neck. | 0:26:20 | 0:26:25 | |
It's like a very low rent Mr Benn. | 0:26:26 | 0:26:29 | |
The Fighter is so full of clangers, it makes me want to hurt someone. | 0:26:33 | 0:26:38 | |
Not Marky Mark obviously, he's a bit tough. | 0:26:38 | 0:26:41 | |
And not Bale, the lunatic! | 0:26:41 | 0:26:43 | |
But Rock 'Em Sock 'Em Robots would help vent my frustrations. | 0:26:45 | 0:26:49 | |
It's good, Dick. I'm just trying to figure out what's best for me. | 0:26:49 | 0:26:53 | |
Where have they gone? I wasn't going to break them. | 0:26:54 | 0:26:58 | |
I'm sorry, I don't know who you are or why you're taking. | 0:26:58 | 0:27:02 | |
Oh, back now. Well, if you're going to be like that I don't want them. | 0:27:02 | 0:27:06 | |
We're together. Do we need to do this again? Hi, I'm Charlene. | 0:27:06 | 0:27:09 | |
In the emotional King's Speech, | 0:27:11 | 0:27:14 | |
the Monarch struggles with a speech impediment. | 0:27:14 | 0:27:17 | |
However, his missus Queen Bonham Carter has her own struggles. | 0:27:17 | 0:27:22 | |
Her veil keeps moving on its own accord. | 0:27:22 | 0:27:24 | |
First it's down... | 0:27:24 | 0:27:27 | |
Indentured servitude? | 0:27:27 | 0:27:28 | |
..then it's up... | 0:27:28 | 0:27:31 | |
Well, we need to have your hubby pop by. | 0:27:31 | 0:27:34 | |
-Tuesday would be good. -..then it's down. | 0:27:34 | 0:27:37 | |
They should make a film of that - The Queen's Manic Depressive Veil. | 0:27:37 | 0:27:41 | |
Greetings, bold traveller. Far have you journeyed in the search | 0:27:43 | 0:27:46 | |
of mistakes from the realm of fantasy films and weary must ye be, | 0:27:46 | 0:27:50 | |
but finally ye shall be rewarded with what ye seek. | 0:27:50 | 0:27:53 | |
First I will need drop of monk's wood from the vial of crisal wood | 0:27:53 | 0:27:57 | |
to unlock the spell... Oh, stop this. Just play the clips. | 0:27:57 | 0:28:00 | |
Here are the fantasy film mistakes. Yeah. No, over there. | 0:28:00 | 0:28:05 | |
Over to Narnia and the exciting and epic Voyage Of The Dawn Treader. | 0:28:08 | 0:28:12 | |
Look behind our brave explorers That door is firmly closed. How can they get in? | 0:28:12 | 0:28:18 | |
Oh, it's already open and now we HEAR it opening. | 0:28:20 | 0:28:23 | |
DOOR GRUNDLES OPEN | 0:28:23 | 0:28:25 | |
Narnia's a confusing place. What next, a talking lion? | 0:28:25 | 0:28:30 | |
What's your least favourite season? Autumn? Winter? | 0:28:33 | 0:28:37 | |
Mine is The Season Of The Witch. | 0:28:37 | 0:28:40 | |
That felt longer than both autumn and winter put together. | 0:28:40 | 0:28:42 | |
Now, look at the boy's sword. | 0:28:42 | 0:28:45 | |
Did you spot it? Let's see that again. | 0:28:46 | 0:28:50 | |
Perhaps you can be of service. | 0:28:50 | 0:28:52 | |
The sword swaps hands. Witchcraft, or maybe glitch craft? | 0:28:55 | 0:29:00 | |
The actors in this half-hearted and messy take on Red Riding Hood | 0:29:03 | 0:29:07 | |
must be a bit chilly. | 0:29:07 | 0:29:10 | |
It's clearly the middle of winter, | 0:29:10 | 0:29:12 | |
but everyone's wearing short-sleeved garments. | 0:29:12 | 0:29:14 | |
Rumours that this film was shot on a Saturday night out in Newcastle have yet to be confirmed. | 0:29:16 | 0:29:20 | |
Clint Eastwood's flawed fantasy Hereafter now, and in this scene, | 0:29:24 | 0:29:29 | |
an expert is telling us about the great Charles Dickens. | 0:29:29 | 0:29:32 | |
Over here on this wall we have several illustrations for The Mystery of Edward Drood... | 0:29:32 | 0:29:38 | |
Oh dear. I hate to be a know-it-all, | 0:29:38 | 0:29:40 | |
but I think you'll find it was The Mystery of Edwin Drood, not Edward Drood. | 0:29:40 | 0:29:44 | |
To think I had such great expectations for this film. | 0:29:44 | 0:29:48 | |
This is the film Your Highness, | 0:29:51 | 0:29:54 | |
and this poor, helpless maiden is tied down so tightly she can barely move. | 0:29:54 | 0:30:00 | |
But at the end of the scene, she's able to sit up quite easily whilst still being tied down. | 0:30:02 | 0:30:08 | |
Your Highness, the film that hits an all-time lowness. | 0:30:08 | 0:30:14 | |
I always say the key to a successful double act is having two people... | 0:30:16 | 0:30:21 | |
From my experience, if you want to create a successful double act, | 0:30:21 | 0:30:24 | |
and you're not very cool, | 0:30:24 | 0:30:25 | |
find someone who is much less cool than you, | 0:30:25 | 0:30:28 | |
and then you'll be known as the cool one. | 0:30:28 | 0:30:30 | |
Some Hollywood double acts work so well together, it's hard to imagine one without the other. | 0:30:30 | 0:30:35 | |
Tom Hank and Meg Ryan, Brad and Angelina, | 0:30:35 | 0:30:37 | |
Lindsay Lohan and her parole officer. | 0:30:37 | 0:30:40 | |
But my favourite double act has got to be Superman and Clark Kent. | 0:30:40 | 0:30:45 | |
What? | 0:30:45 | 0:30:46 | |
How can they be the same person? They don't look anything alike. | 0:30:47 | 0:30:50 | |
He just wears glasses?! | 0:30:50 | 0:30:53 | |
That is so... So clever. | 0:30:53 | 0:30:55 | |
OK, then it's got to be Spiderman and Peter Parker. | 0:30:55 | 0:30:59 | |
The surprisingly dark Love And Other Drugs now, | 0:31:01 | 0:31:05 | |
and watch Anne Hathaway's arm. | 0:31:05 | 0:31:07 | |
It's under the pillow behind Jake Gyllenhaal's arm, | 0:31:07 | 0:31:09 | |
then it pops up before tucking itself back behind the pillow | 0:31:09 | 0:31:14 | |
like his arm's made of nothing. | 0:31:14 | 0:31:16 | |
Also, she's not pointing and laughing, | 0:31:16 | 0:31:18 | |
which in my experience is what women normally do after sex. Right? | 0:31:18 | 0:31:22 | |
Here's a scene from the goofy Dinner for Schmucks, and just keep an eye on her ears. | 0:31:24 | 0:31:29 | |
He wants me to curate it. | 0:31:29 | 0:31:30 | |
Oh, my God! | 0:31:30 | 0:31:32 | |
She's lost her earrings! | 0:31:32 | 0:31:34 | |
You call a guy a douche and you get your first museum show out of it. | 0:31:34 | 0:31:37 | |
Now they're back. | 0:31:37 | 0:31:38 | |
I love you so much. You're stunning, smart and awful with pronunciation. | 0:31:38 | 0:31:43 | |
Now they've gone again! | 0:31:43 | 0:31:45 | |
Apparently she's wearing a new type of jewellery. | 0:31:45 | 0:31:48 | |
Disappear-rings! | 0:31:48 | 0:31:51 | |
I love you. | 0:31:51 | 0:31:52 | |
Oh, my God. | 0:31:56 | 0:31:58 | |
Here, Steve Carrel wrestles Paul Rudd away from a lift. | 0:31:58 | 0:32:02 | |
I think we need to cool off... | 0:32:02 | 0:32:03 | |
Gosh, I hate when that happens. | 0:32:03 | 0:32:05 | |
Look, he's grabbing him by the arm. | 0:32:05 | 0:32:08 | |
He's got his arm. | 0:32:08 | 0:32:09 | |
And then suddenly... it's his right leg! | 0:32:09 | 0:32:14 | |
What a joke. | 0:32:14 | 0:32:16 | |
Paul Rudd's not the only one having his leg pulled around here. | 0:32:16 | 0:32:19 | |
THEY GRUNT AND MOAN | 0:32:19 | 0:32:22 | |
You are welcome. | 0:32:22 | 0:32:23 | |
In this bit, Steve Carrel changes his specs | 0:32:28 | 0:32:31 | |
so he can dress a mouse for its impending marriage. | 0:32:31 | 0:32:35 | |
Nice cameo by Stuart Little. | 0:32:40 | 0:32:44 | |
But when he removes the magnifying glasses... | 0:32:45 | 0:32:48 | |
Oops, his normal glasses are still on. | 0:32:48 | 0:32:52 | |
What a mouse-stake to make. | 0:32:52 | 0:32:53 | |
At the schmucks' dinner itself, | 0:32:57 | 0:33:00 | |
watch out for the lady in the purple dress, who's in two places at once. | 0:33:00 | 0:33:05 | |
Here she is. | 0:33:08 | 0:33:10 | |
And now she's over here too. | 0:33:10 | 0:33:12 | |
Incredible! At least she can pass herself the salt. | 0:33:12 | 0:33:16 | |
Here, Steve plays such a schmuck that he walks straight into a pond and gets his trousers wet. | 0:33:24 | 0:33:30 | |
But hang on. | 0:33:30 | 0:33:31 | |
They're already wet before he goes in from a previous take. | 0:33:31 | 0:33:36 | |
When they said this comedy was pant-wetting, | 0:33:36 | 0:33:38 | |
I thought they meant it was funny! | 0:33:38 | 0:33:41 | |
Oh, the usual scene. | 0:33:43 | 0:33:45 | |
A man asleep in the bath with his hand down the toilet. | 0:33:45 | 0:33:49 | |
This is the predictable Just Go With It, | 0:33:49 | 0:33:53 | |
which was the editor probably said when he saw that the toilet seat was down instead of up on the next shot. | 0:33:53 | 0:33:59 | |
Just go with it. No-one will notice. | 0:34:01 | 0:34:03 | |
I mean, that kid's not noticed, and he's sat on a man's hand. | 0:34:05 | 0:34:09 | |
Jennifer Aniston and Adam Sandler play plastic surgeons, | 0:34:11 | 0:34:16 | |
but maybe it's their movie that needs corrective surgery. | 0:34:16 | 0:34:19 | |
I think that's enough. Do you feel that? | 0:34:19 | 0:34:22 | |
No. | 0:34:22 | 0:34:23 | |
One moment Sandler is wearing rubber gloves, and then suddenly... | 0:34:23 | 0:34:26 | |
..they've gone! | 0:34:26 | 0:34:28 | |
That bra is the perfect size, Sandler, | 0:34:28 | 0:34:31 | |
Cos you've just made one massive boob. | 0:34:31 | 0:34:33 | |
Film animals are intensively-trained creatures | 0:34:37 | 0:34:40 | |
who behave exactly the way the director wants them to. | 0:34:40 | 0:34:43 | |
-But sometimes corners are cut. -The pig is tasting my body! | 0:34:43 | 0:34:46 | |
No, he's not. | 0:34:46 | 0:34:48 | |
He should be saying, "The pig is eating the food that I've smeared all over my back to attract it." | 0:34:48 | 0:34:54 | |
The pig's the one who's least at fault. | 0:34:54 | 0:34:56 | |
The pig is tasting my body! | 0:34:56 | 0:34:58 | |
Action films now. None of your namby-pamby romance or any of that girly stuff. | 0:35:00 | 0:35:06 | |
Films for blokes, full of explosions and fights and guns. | 0:35:06 | 0:35:09 | |
Films for real men. Real men like me! | 0:35:09 | 0:35:12 | |
Are you talking to me?! Are you talking to me?! | 0:35:12 | 0:35:15 | |
Oh, you are talking to me. | 0:35:15 | 0:35:17 | |
What... We can't have the gun. Health and safety. Oh, OK. | 0:35:17 | 0:35:21 | |
GUN BLASTS | 0:35:21 | 0:35:22 | |
And talking of being sorry, | 0:35:23 | 0:35:25 | |
I got kicked out of my local cinema the other week | 0:35:25 | 0:35:27 | |
after I went up to the lady at the ticket kiosk and told her I was looking for a bit of action. | 0:35:27 | 0:35:31 | |
I only wanted a ticket to see the new Jason Statham film. | 0:35:31 | 0:35:35 | |
Well, that's what I told the police anyway. | 0:35:35 | 0:35:37 | |
Nice vest. | 0:35:39 | 0:35:41 | |
It's the ridiculous The Expendables, | 0:35:41 | 0:35:44 | |
where the most expendable thing is that vest. | 0:35:44 | 0:35:47 | |
Sly got on board wearing it... | 0:35:49 | 0:35:51 | |
Now it's off. | 0:35:51 | 0:35:53 | |
He hangs up his guns... | 0:35:54 | 0:35:56 | |
And it's on again. | 0:35:59 | 0:36:00 | |
And then it isn't. | 0:36:01 | 0:36:03 | |
I haven't seen this much vest removal since Take That at Wembley in 1995. | 0:36:03 | 0:36:08 | |
Cockney legend Statham starting some aggro with some sweaty crims. | 0:36:12 | 0:36:17 | |
Here he is pokin' along on his bike in his levver jacket and 'elmet. | 0:36:17 | 0:36:21 | |
That'll take a while to take off. | 0:36:21 | 0:36:24 | |
But in an instant his trouble and strife is strolling away wiv his gear. | 0:36:25 | 0:36:30 | |
Would you Adam and Eve it? | 0:36:30 | 0:36:32 | |
A horrible scene of torture from The Expendables, | 0:36:37 | 0:36:40 | |
but not as horrible as this goof. | 0:36:40 | 0:36:43 | |
SHE SCREAMS | 0:36:44 | 0:36:46 | |
MAN SPEAKS IN SPANISH | 0:36:46 | 0:36:47 | |
She gives a defiant kick to her captors... | 0:36:47 | 0:36:50 | |
THEY SPEAK IN SPANISH | 0:36:53 | 0:36:55 | |
However, when she falls, you can see that her legs are tied together. | 0:36:55 | 0:36:59 | |
Maybe the director was too tied up to notice this. Thanks again. Thanks. | 0:36:59 | 0:37:03 | |
Cameron Diaz, in the straightforward and predictable Knight And Day, | 0:37:05 | 0:37:09 | |
is being harassed by this villain in his neat beard. | 0:37:09 | 0:37:14 | |
Wow, that beard could make any self-respecting man jealous. | 0:37:14 | 0:37:19 | |
But not as much as his ability to grow a full beard later that day. | 0:37:19 | 0:37:25 | |
Blimey. I can't even do Movember. | 0:37:25 | 0:37:28 | |
Here's Angelina Jolie as Salt in the far-fetched Salt. | 0:37:30 | 0:37:35 | |
Now, too much salt is bad for you, so let's keep this short. | 0:37:36 | 0:37:39 | |
Here she's brought along an ashtray and a packet of fags. | 0:37:39 | 0:37:43 | |
What about your insides, Salt? | 0:37:43 | 0:37:45 | |
-I need to get to the phone. -No, no, no. | 0:37:45 | 0:37:47 | |
Someone should really hide them. Oh, they have! | 0:37:47 | 0:37:51 | |
But you can't fool Salt. She finds them again. | 0:37:51 | 0:37:54 | |
Her IQ is as high as her blood pressure. | 0:37:54 | 0:37:56 | |
Looks like Salt's about to get on a bouncy castle. | 0:37:58 | 0:38:02 | |
She knows the rules. No shoes. | 0:38:02 | 0:38:05 | |
That's right. Put them neatly behind you. | 0:38:05 | 0:38:09 | |
But in the CCTV shot, they're scattered all over the place. | 0:38:09 | 0:38:12 | |
No party bag for you! | 0:38:12 | 0:38:15 | |
In this climactic scene, Salt... Spoiler alert! | 0:38:19 | 0:38:23 | |
..kills the Russian president. | 0:38:23 | 0:38:25 | |
And speaking of spoiling things, take a look at the dead pres. | 0:38:25 | 0:38:29 | |
We need a medical crew down in the crypt. | 0:38:29 | 0:38:31 | |
No need to look for a pulse. His eyes can tell you he's totally fine. | 0:38:31 | 0:38:35 | |
They say dead men don't talk, but apparently they do blink. | 0:38:38 | 0:38:42 | |
Now, this is the melodramatic Sanctum, | 0:38:45 | 0:38:48 | |
and you'll need to watch very carefully. | 0:38:48 | 0:38:51 | |
Something the director failed to do when they picked a stuntman. | 0:38:52 | 0:38:56 | |
Look, a watch in this shot and no watch during the stunt. | 0:38:56 | 0:39:01 | |
I wouldn't give this movie the time of day. | 0:39:04 | 0:39:07 | |
I always thought that box office number ones | 0:39:11 | 0:39:13 | |
were what the staff at the multiplex did when they had too many fizzy drinks. | 0:39:13 | 0:39:17 | |
It turns out I was just wrong about that. | 0:39:17 | 0:39:21 | |
Anyway, the mistakes you're about to see are all from movies which raked in the most money | 0:39:21 | 0:39:25 | |
and were Top of the Pops in the week of their release. | 0:39:25 | 0:39:27 | |
Rumours that Fast Five only got there through charging £250 a ticket are unsubstantiated. | 0:39:27 | 0:39:34 | |
It's the mawkish Due Date, and Robert Downey Jr's looking cool. | 0:39:37 | 0:39:42 | |
Peter... OK, listen. | 0:39:42 | 0:39:46 | |
He's even got those light-sensitive sunglasses. | 0:39:46 | 0:39:48 | |
Though this scene must have been filmed on a very changeable day, | 0:39:48 | 0:39:51 | |
as his glasses go from very dark to... | 0:39:51 | 0:39:54 | |
-I just didn't want to go... -..completely gone. | 0:39:55 | 0:39:57 | |
Proof that the director also needed specs. | 0:39:57 | 0:40:00 | |
We say a deathly hallow to Harry Potter and chums | 0:40:02 | 0:40:06 | |
in this lively scene where they're transported from a fiery tent... | 0:40:06 | 0:40:10 | |
to the safety of... | 0:40:10 | 0:40:11 | |
oncoming traffic. | 0:40:11 | 0:40:14 | |
But look again. | 0:40:14 | 0:40:15 | |
Harry's is on Hermione's left and Ron on her right. | 0:40:15 | 0:40:20 | |
But when they reappear, it's the other way round. | 0:40:21 | 0:40:25 | |
In this gory scene from the disappointing Little Fockers, | 0:40:27 | 0:40:30 | |
Ben Stiller slices straight through his finger, | 0:40:30 | 0:40:34 | |
making Bobby De Niro Bloody De Niro. | 0:40:34 | 0:40:37 | |
THEY ALL SCREAM | 0:40:37 | 0:40:39 | |
But there's blood on the right side of his face when earlier it was all over his left. | 0:40:40 | 0:40:45 | |
That's not just blood on your face, Bobby. There's egg on it too. | 0:40:47 | 0:40:50 | |
The Expendables, and Sly Stallone's got a gun ready to use | 0:40:54 | 0:40:57 | |
in an exciting escape from some bad men. | 0:40:57 | 0:41:02 | |
BRAKES SCREECH | 0:41:02 | 0:41:03 | |
I worry that these days Sly's mind is not what it used to be. | 0:41:05 | 0:41:11 | |
Look, he's forgotten that he should be holding the gun, | 0:41:11 | 0:41:14 | |
not having it in his belt. | 0:41:14 | 0:41:15 | |
But once Statham shouts the magic words, the gun's back... | 0:41:15 | 0:41:20 | |
for Sly to throw away. | 0:41:20 | 0:41:21 | |
A clever scene from Transformers | 0:41:24 | 0:41:26 | |
with real footage of President Nixon on the TV. | 0:41:26 | 0:41:29 | |
And they've carefully recreated the set to match it. | 0:41:29 | 0:41:33 | |
However, was it too much of a push to get a lamp? | 0:41:33 | 0:41:37 | |
It's here but not here. | 0:41:37 | 0:41:40 | |
No, that would've been a giant leap too far. | 0:41:40 | 0:41:43 | |
Fast paced sci-fi thrills in Limitless, | 0:41:45 | 0:41:48 | |
and for a man with no limits, | 0:41:48 | 0:41:50 | |
Bradley Cooper really struggles with the little things. | 0:41:50 | 0:41:53 | |
Like sitting down on a chair properly. | 0:41:53 | 0:41:56 | |
Oh, come on, don't cry. Look, the chair's back up again! | 0:41:59 | 0:42:02 | |
You can have another go! | 0:42:02 | 0:42:04 | |
My mother always used to say, | 0:42:08 | 0:42:10 | |
"Never fly-kick a man with a massive hammer in the face." | 0:42:10 | 0:42:13 | |
Sadly, Milla's mum didn't, which is bad news, | 0:42:13 | 0:42:16 | |
because this man is going to hit Milla with the massive hammer. | 0:42:16 | 0:42:21 | |
However, it's not all bad, because at least he hit her into a nice, soft bouncy wall. | 0:42:21 | 0:42:27 | |
See? Every hammer has a silver lining. | 0:42:29 | 0:42:31 | |
Now this girl's in pursuit. | 0:42:35 | 0:42:38 | |
She slides underneath, shooting him as she goes. | 0:42:38 | 0:42:41 | |
But wait. | 0:42:41 | 0:42:43 | |
Look, that hammer's going to land on her! | 0:42:43 | 0:42:45 | |
Phew. Saved by a continuity error. | 0:42:45 | 0:42:49 | |
MC Hammer snuffs it and she's not even there. | 0:42:49 | 0:42:53 | |
Adrenalin-pumping Fast Five now, and when robbing a bank, | 0:42:58 | 0:43:02 | |
attention to detail really counts. | 0:43:02 | 0:43:05 | |
Here the safe's unlocked with a right-hand print. | 0:43:05 | 0:43:08 | |
Young Mia then goes to extreme measures, | 0:43:13 | 0:43:16 | |
grabbing his print on her bikini. | 0:43:16 | 0:43:18 | |
But it's the left hand. | 0:43:20 | 0:43:22 | |
That shouldn't work, then. Caught you red-handed AND red-faced! | 0:43:22 | 0:43:27 | |
-So did he just slap that -BLEEP -or did he grab and hold onto it? | 0:43:27 | 0:43:32 | |
The only thing that keeps me on the edge of my seat more than | 0:43:34 | 0:43:36 | |
watching a good thriller is a really, really small seat. | 0:43:36 | 0:43:40 | |
I love a good thriller - it's my favourite genre of film. | 0:43:40 | 0:43:43 | |
It's also a Michael Jackson album title. | 0:43:43 | 0:43:46 | |
I also like films that are bad, dangerous or simply off the wall! | 0:43:46 | 0:43:50 | |
HE LAUGHS | 0:43:50 | 0:43:53 | |
Now the fraught and claustrophobic Buried. | 0:43:56 | 0:44:00 | |
Here, Ryan Reynolds unties his hands and removes the gag around his neck. | 0:44:00 | 0:44:05 | |
But then out of nowhere... | 0:44:05 | 0:44:07 | |
..the gag's back around his neck! | 0:44:11 | 0:44:13 | |
For a film full of gags, it's just not funny. | 0:44:13 | 0:44:17 | |
Now Ryan grabs a pen and writes with his left hand. | 0:44:21 | 0:44:24 | |
But when the shot changes, it's suddenly his right. | 0:44:25 | 0:44:28 | |
So as well as being a big Hollywood star, he's also ambidextrous! | 0:44:28 | 0:44:32 | |
Talk about buried talent! | 0:44:33 | 0:44:36 | |
It's the gripping and gritty film The Town. | 0:44:40 | 0:44:43 | |
The thing about towns nowadays is that businesses can change | 0:44:43 | 0:44:47 | |
so quickly, can't they? | 0:44:47 | 0:44:49 | |
Look at the bar across the road from this flower shop. | 0:44:49 | 0:44:53 | |
-It's called Fitzgerald's, right? -I'm in. | 0:44:55 | 0:44:57 | |
I have this. | 0:44:57 | 0:44:59 | |
Well, not any more, because we see the bar is now called The Junction. | 0:44:59 | 0:45:03 | |
Sounds like a naff gastropub to me. | 0:45:03 | 0:45:06 | |
Matthew McConaughey in the solidly crafted Lincoln Lawyer. | 0:45:08 | 0:45:13 | |
-Get the hell out of my house. -Take that, M Dog! | 0:45:13 | 0:45:15 | |
I told you my son didn't kill... | 0:45:15 | 0:45:17 | |
Lucky it was his left arm so he can shoot right back at her. | 0:45:17 | 0:45:19 | |
Oh, hang on, that's his right arm in the sling. | 0:45:27 | 0:45:31 | |
Sue the doctors for malpractice, Matthew, | 0:45:31 | 0:45:34 | |
and then get a better lawyer than yourself to represent you. | 0:45:34 | 0:45:37 | |
I thought I told you to be careful. | 0:45:37 | 0:45:39 | |
Onto the intriguing Adjustment Bureau | 0:45:44 | 0:45:47 | |
and Matt Damon has a phone in his coffee. | 0:45:47 | 0:45:49 | |
Personally I prefer milk and sugar. | 0:45:49 | 0:45:51 | |
-'You won't believe who I just ran into?' -Who? -'The girl from...' | 0:45:51 | 0:45:54 | |
But what's this? Moments later, he's talking on a different phone. | 0:45:54 | 0:45:58 | |
The one you kissed? | 0:45:58 | 0:45:59 | |
-However, keep watching as during the same conversation... -Whatever, dude. | 0:45:59 | 0:46:02 | |
-It won't work again. -..he's back on the BlackBerry. | 0:46:02 | 0:46:06 | |
And you didn't write it? | 0:46:06 | 0:46:08 | |
Now Matt's looking at an article so good they've printed it twice. | 0:46:11 | 0:46:16 | |
See, it's the same chunk of text here and here. | 0:46:16 | 0:46:21 | |
How lazy to just repeat the same thing over again. | 0:46:21 | 0:46:24 | |
How lazy to just repeat the same thing over again. | 0:46:24 | 0:46:27 | |
It's torturous suspense flick The Resident. | 0:46:29 | 0:46:32 | |
And weirdo Max has snuck into Juliet's bedroom to get some | 0:46:32 | 0:46:35 | |
kind of creepy thrill from not quite touching her. | 0:46:35 | 0:46:38 | |
However, the really odd bit is Juliet lying on her side... | 0:46:40 | 0:46:44 | |
then instantly she's on her back. | 0:46:44 | 0:46:47 | |
You've been out-weirded, Max! | 0:46:47 | 0:46:49 | |
Go back home and count your toenail clippings collection. | 0:46:49 | 0:46:52 | |
ALARM BEEPS | 0:46:54 | 0:46:55 | |
Oh, no! It's 8:27am and Juliet's overslept. | 0:46:55 | 0:46:59 | |
Hurry up, Juliet, get your trousers on. It's awful when you oversleep. | 0:47:01 | 0:47:06 | |
You just can't get your brain into gear. | 0:47:06 | 0:47:08 | |
And Juliet's not got her brain into gear as she's making a call | 0:47:10 | 0:47:13 | |
when her phone is clearly still locked. | 0:47:13 | 0:47:16 | |
I seriously overslept. | 0:47:17 | 0:47:19 | |
Now, an abysmal film, | 0:47:23 | 0:47:25 | |
The Roommate, where the roommates in question take a photo of themselves. | 0:47:25 | 0:47:29 | |
That shot will look great on the shared house wall. | 0:47:29 | 0:47:32 | |
Shame they get a different picture from the wrong angle then. | 0:47:32 | 0:47:36 | |
And if they can't agree on that, it'll be murder | 0:47:36 | 0:47:39 | |
when they do the cleaning rota. | 0:47:39 | 0:47:41 | |
It's the contrived mystery movie Unknown. | 0:47:44 | 0:47:47 | |
And here's an quick science lesson - what happens when you use something | 0:47:47 | 0:47:52 | |
that gives out an electric shock on something that's soaking wet? | 0:47:52 | 0:47:55 | |
A nasty electric shock for everyone concerned. | 0:47:58 | 0:48:01 | |
However, concern is not something these ambulance men seem to have. | 0:48:01 | 0:48:06 | |
In Unknown, Diane Kruger gets knocked unconscious with chloroform. | 0:48:09 | 0:48:15 | |
But when one of her eyes is opened to check she's out, the other one opens as well. | 0:48:15 | 0:48:19 | |
Blink and you'd miss it. | 0:48:19 | 0:48:21 | |
Wink and you'd be better for the part than Diane. | 0:48:21 | 0:48:24 | |
And now another movie storyline's faults are reviewed | 0:48:27 | 0:48:30 | |
and exposed in Great Plothole Mistakes. | 0:48:30 | 0:48:33 | |
In the exhausting action-packed thrill-fest | 0:48:33 | 0:48:37 | |
that is Raiders of the Lost Ark, | 0:48:37 | 0:48:39 | |
it's 1936 and celebrated archaeologist Dr Indiana Jones | 0:48:39 | 0:48:43 | |
is approached by army intelligence. | 0:48:43 | 0:48:44 | |
They tell him that Hitler's obsession with the occult has led him to seek the Ark of the Covenant, | 0:48:44 | 0:48:49 | |
a sacred relic containing the wrath of God. | 0:48:49 | 0:48:52 | |
In our version, Indy says, "Listen, guys, I just got back from Peru. | 0:48:52 | 0:48:57 | |
"I've been chased by a massive ball. I'm shattered. | 0:48:57 | 0:49:00 | |
"I've got lots of post to open, the garden's been neglected | 0:49:00 | 0:49:03 | |
"and this hat needs dry cleaning. I might give this one a miss." | 0:49:03 | 0:49:06 | |
"But the Ark of the Covenant, Dr Jones!" "Yeah, you know what? | 0:49:06 | 0:49:09 | |
"It won't make much difference whether I go or not." | 0:49:09 | 0:49:13 | |
So while Indy stays at home and gets his stuff sorted, | 0:49:13 | 0:49:15 | |
the Nazis get the Ark undisturbed, | 0:49:15 | 0:49:19 | |
transport it from Egypt all the way back to Berlin where | 0:49:19 | 0:49:22 | |
a triumphant Fuhrer pops the lid in front of his evil acolytes. | 0:49:22 | 0:49:26 | |
"Oh, goody!" And it melts his stupid face off, averting World War II. | 0:49:26 | 0:49:31 | |
Comedy now. People have a lot of theories about comedy. | 0:49:35 | 0:49:39 | |
They say tragedy plus time equals comedy. | 0:49:39 | 0:49:42 | |
But Bambi came out years ago and every time I watch it, | 0:49:42 | 0:49:45 | |
I bawl my eyes out. But then my mother was a dear. | 0:49:45 | 0:49:48 | |
They also say it takes more muscles to frown than it does to smile. | 0:49:48 | 0:49:52 | |
No wonder I felt so exhausted watching Cheaper By The Dozen 2. | 0:49:52 | 0:49:57 | |
But most importantly, they say the secret of comedy is timing. | 0:49:57 | 0:50:01 | |
Knowing the exact moment to say something hilarious. | 0:50:03 | 0:50:07 | |
Actually, thinking about it, timing isn't quite as important as having something funny to say. | 0:50:09 | 0:50:13 | |
Sorry. | 0:50:13 | 0:50:15 | |
Junior Suite... | 0:50:17 | 0:50:19 | |
It's quirky and unusual Cedar Rapids where Tim is staying 112. | 0:50:19 | 0:50:25 | |
It's strange then that when Dean arrives, he says... | 0:50:25 | 0:50:27 | |
Double stock my minibar, please, 1019. Thank you. | 0:50:27 | 0:50:32 | |
Because, look, he's also staying in 112 with Tim and also Ronald. | 0:50:32 | 0:50:36 | |
Someone in 1019 is going to get a nice surprise. | 0:50:36 | 0:50:40 | |
Now notice all the climbers on the wall with Tim are securely | 0:50:43 | 0:50:47 | |
tied on with ropes and harnesses to avoid falling off. | 0:50:47 | 0:50:52 | |
Or suddenly inexplicably vanishing. | 0:50:52 | 0:50:55 | |
Low brow and proud of it, it's Hall Pass | 0:50:58 | 0:51:01 | |
and I do wish that that guy would stop flashing his chest about. | 0:51:01 | 0:51:05 | |
His shirt agrees and has taken it upon itself to button up. | 0:51:05 | 0:51:09 | |
It's one of those self-fastening shirts. | 0:51:10 | 0:51:13 | |
The trouble with those is that they've got a habit of... | 0:51:13 | 0:51:17 | |
-Yeah, it's unbuttoned again. -I gotta get going. | 0:51:17 | 0:51:20 | |
We have a team meeting in 20 minutes. | 0:51:20 | 0:51:22 | |
Best do it up yourself, yeah, fella. | 0:51:22 | 0:51:24 | |
Sam Jackson and The Rock are wearing no ordinary medals | 0:51:26 | 0:51:31 | |
in this frantic comedy, The Other Guys, they're mood medals. | 0:51:31 | 0:51:35 | |
And we'd do it again and again. | 0:51:35 | 0:51:37 | |
They disappear when they get angry. | 0:51:37 | 0:51:39 | |
-If we want to hear you talk, I will shove my arm up your -BLEEP | 0:51:39 | 0:51:42 | |
and work your mouth like a puppet! You hear me?! You hear me? | 0:51:42 | 0:51:45 | |
And reappear when they're happy again. See? | 0:51:45 | 0:51:48 | |
Either that or someone's been "medalling" - thanks - with the props. | 0:51:48 | 0:51:52 | |
A police officer must always know where his gun is. | 0:51:56 | 0:52:00 | |
However, Will Ferrell has forgotten his golden rule - | 0:52:00 | 0:52:03 | |
he's rolling around on top of it. | 0:52:03 | 0:52:05 | |
Only for it to return to his holster moments later. | 0:52:07 | 0:52:11 | |
Here, Will Ferrell is in a violent rage with Alan Partridge. | 0:52:15 | 0:52:21 | |
They say you can't reproduce truly great art, | 0:52:21 | 0:52:23 | |
but when Will takes this mediocre squiggle off the wall, | 0:52:23 | 0:52:26 | |
an exact reproduction immediately takes its place. | 0:52:26 | 0:52:29 | |
The very raw comedy Horrible Bosses. | 0:52:32 | 0:52:35 | |
Jamie Foxx is given a suitcase full of money. | 0:52:36 | 0:52:40 | |
Well, a bit of money. | 0:52:40 | 0:52:41 | |
Anyway, he'd best latch the suitcase all the same. Good man. | 0:52:41 | 0:52:45 | |
But spool forward a bit... | 0:52:47 | 0:52:49 | |
and the latches are undone again. | 0:52:49 | 0:52:52 | |
With all that cash, you'd think he'd be able to buy a better suitcase. | 0:52:52 | 0:52:56 | |
One of my favourites, Big Momma 3, with an angry woman | 0:52:58 | 0:53:02 | |
covered in white foam making a mess of the door. | 0:53:02 | 0:53:05 | |
-Never mind. Here's Big Momma's peerless acting skills. -Me?! | 0:53:07 | 0:53:10 | |
-Well, thank you, sure. -But who's cleaned up that door? | 0:53:10 | 0:53:15 | |
What a shame. This silly blunder ruins an otherwise perfect film(!) | 0:53:15 | 0:53:20 | |
Historical movies are a personal favourite of mine. | 0:53:22 | 0:53:25 | |
I often picture myself cast in a lavish version of a classic Jane Austen movie - | 0:53:25 | 0:53:30 | |
Mr Darcy in a drenched shirt, open to the waist, | 0:53:30 | 0:53:32 | |
climbing out of the water, whilst watching, in anticipation, | 0:53:32 | 0:53:35 | |
dressed in a gorgeous bodice, holding a parasol, there I am. | 0:53:35 | 0:53:39 | |
"Oh, Mr Darcy!" That's how I'd do it. | 0:53:39 | 0:53:43 | |
Oscar fodder with the classy remake of True Grit. | 0:53:46 | 0:53:51 | |
And times sure were tough in 19th-century Texas. | 0:53:51 | 0:53:54 | |
Unless, that is, you're the heroine Mattie Ross | 0:53:54 | 0:53:57 | |
and you have the amazing ability to go from soaking wet... | 0:53:57 | 0:54:00 | |
..to bone dry in ten seconds flat. | 0:54:08 | 0:54:10 | |
Consumer issues now and here, | 0:54:14 | 0:54:16 | |
Jeff Bridges shows his disgust with the corn bread | 0:54:16 | 0:54:18 | |
in his bargain bucket | 0:54:18 | 0:54:20 | |
by spilling them out of the bag and shooting them. | 0:54:20 | 0:54:23 | |
Luckily, it's Colonel Sanders' disappearing corn - | 0:54:23 | 0:54:26 | |
it's nowhere to be seen. | 0:54:26 | 0:54:27 | |
Well, he won't have to waste any more precious bullets. | 0:54:31 | 0:54:33 | |
A ropey gaff now. See that chap hanging around in the branches? | 0:54:37 | 0:54:41 | |
One minute he's top of the tree, next he's swinging a lot lower. | 0:54:41 | 0:54:46 | |
How Jeff Bridges doesn't twig, I'll never know. | 0:54:46 | 0:54:49 | |
Frivolous grave robbing jokery with Burke and Hare, | 0:54:53 | 0:54:56 | |
and here's Simon Pegg chatting up her off of Home & Away. | 0:54:56 | 0:54:59 | |
-When will I be able to see you again, Jenny? -At the Lyceum Theatre. | 0:54:59 | 0:55:04 | |
-Really? When? -When we put... | 0:55:04 | 0:55:06 | |
Maybe in 55 years' time, when the Lyceum Theatre is actually built. | 0:55:06 | 0:55:10 | |
-Goodnight, William. -That's certainly one way to ditch a guy. | 0:55:10 | 0:55:13 | |
Burke and Hare are chopping down a tree to stop a coach. | 0:55:19 | 0:55:22 | |
And who's inside? Urgh! | 0:55:24 | 0:55:27 | |
If I saw a coach with Michael Winner inside, I wouldn't want to stop it. | 0:55:27 | 0:55:31 | |
But they've only made a tiny dent at chest height. | 0:55:31 | 0:55:34 | |
Come on, put your back into it! | 0:55:34 | 0:55:36 | |
However, this being the crazy world of true life drama, the entire tree comes tumbling down. | 0:55:36 | 0:55:42 | |
Uh-oh. The winner takes a fall. | 0:55:42 | 0:55:45 | |
-Hmm, that table looks a little bare. -Lovely. | 0:55:54 | 0:55:57 | |
I know what's missing - she forgot the flowers. | 0:55:58 | 0:56:02 | |
Oh, there they are. | 0:56:02 | 0:56:03 | |
-Thank you. -Bit of an odd side dish, though. | 0:56:03 | 0:56:06 | |
Here's BAFTA-winning actor Tom Wilkinson | 0:56:11 | 0:56:13 | |
unveiling my nominees for the best actor in the movie Burke and Hare. | 0:56:13 | 0:56:17 | |
But which corpse wins? None of them! | 0:56:19 | 0:56:22 | |
The award goes to the incredible moving blanket. | 0:56:22 | 0:56:26 | |
First the corpses are uncovered - | 0:56:26 | 0:56:29 | |
quick round of applause - | 0:56:29 | 0:56:32 | |
then one of them is covered up again. | 0:56:32 | 0:56:34 | |
A bravura performance! | 0:56:35 | 0:56:38 | |
Solving a crime, sir. | 0:56:44 | 0:56:45 | |
The cream of British talent drops some home-grown blunders here. | 0:56:45 | 0:56:49 | |
What on earth are you talking about? | 0:56:49 | 0:56:52 | |
There's Ronnie Corbett - not a mistake, he actually is that small. | 0:56:52 | 0:56:55 | |
I don't know what this little man is trying to prove. | 0:56:55 | 0:56:59 | |
-Stephen Merchant plays goldfish bowl holder 4. -I want him removed. | 0:56:59 | 0:57:03 | |
-It is you, sir! -And now Tim Curry, co-starring with his teeth. | 0:57:03 | 0:57:07 | |
But ignore them and watch his background. He steps forward. | 0:57:10 | 0:57:13 | |
But look, the background remains the same, | 0:57:15 | 0:57:19 | |
suggesting he didn't step forward at all. | 0:57:19 | 0:57:22 | |
We shall all have to pay the price. | 0:57:22 | 0:57:24 | |
And now Merchant's bowl has disappeared. | 0:57:24 | 0:57:28 | |
And to think he was chief bowl holder at the RSC. What an insult! | 0:57:28 | 0:57:34 | |
Rip-roaring Roman caper The Eagle now and this looks like such | 0:57:37 | 0:57:41 | |
an arduous journey it would give anyone a shock. | 0:57:41 | 0:57:43 | |
It certainly did to Jamie Bell's horse who overnight changes | 0:57:45 | 0:57:49 | |
colour from brown to white with no explanation. | 0:57:49 | 0:57:53 | |
The dark and brutal Killer Inside Me | 0:57:55 | 0:57:57 | |
starring Casey Affleck as a deputy sheriff-cum-homicidal maniac. | 0:57:57 | 0:58:02 | |
Ho-hum, you might think. | 0:58:02 | 0:58:04 | |
But I feel anguish and I'm sorry. | 0:58:04 | 0:58:07 | |
But look all of a sudden, he's clutching a thick wooden plank! | 0:58:07 | 0:58:11 | |
Superb uncredited cameo from his brother Ben. | 0:58:11 | 0:58:15 | |
When a film is described as "cultural," | 0:58:17 | 0:58:19 | |
that probably means it hasn't got a good enough story to be popular, | 0:58:19 | 0:58:23 | |
so it's being passed off as art. | 0:58:23 | 0:58:25 | |
"Mm, yes, it's supposed to be boring! That's the point!" | 0:58:25 | 0:58:28 | |
You can explain away all kinds of things using the art house excuse. | 0:58:28 | 0:58:32 | |
Shaky cameras - it's art. | 0:58:32 | 0:58:33 | |
Gaping plot holes - it's art. | 0:58:33 | 0:58:35 | |
Pretentious acting - that's just Natalie Portman, | 0:58:35 | 0:58:37 | |
there's nothing we can do about that now. | 0:58:37 | 0:58:40 | |
Some films are pure entertainment. | 0:58:40 | 0:58:42 | |
Others go a little deeper and ask questions like, "Why are we here, | 0:58:42 | 0:58:45 | |
"in the cinema watching another M Night Shyamalan film?" | 0:58:45 | 0:58:49 | |
Natalie Portman's in need of a champagne top-up, I think, | 0:58:51 | 0:58:54 | |
in creepy ballet melodrama Black Swan. | 0:58:54 | 0:58:57 | |
..appreciated presence on our stage. | 0:58:57 | 0:58:59 | |
But being so freaked out by Winona Ryder giving her evils, none of us notice that, | 0:58:59 | 0:59:04 | |
by the end of the scene, the flute is full to the brim again. | 0:59:04 | 0:59:07 | |
To beauty. | 0:59:07 | 0:59:09 | |
Next up, here's It's Kind Of A Funny Story, | 0:59:11 | 0:59:16 | |
a One Flew Over The Cuckoo's Nest for Justin Bieber fans. | 0:59:16 | 0:59:19 | |
And suicidal Craig has to give up all potentially harmful items. | 0:59:19 | 0:59:24 | |
Your belt and shoelaces. | 0:59:24 | 0:59:25 | |
-So his belt and shoelaces are gone. -We can't take chances. | 0:59:25 | 0:59:30 | |
But later on, Craig and another patient Bobby are shooting hoops | 0:59:31 | 0:59:35 | |
with draw-stringed trackie bottoms | 0:59:35 | 0:59:37 | |
and very laced-up shoes. That basket ball's probably | 0:59:37 | 0:59:41 | |
-a cyanide gobstopper. -Don't play dumb with me. | 0:59:41 | 0:59:45 | |
Now, slow-moving alien thriller Monsters and our couple's being | 0:59:47 | 0:59:51 | |
fleeced by a man who'd get Anne Robinson frothing at the mouth. | 0:59:51 | 0:59:55 | |
Um, how much? | 0:59:55 | 0:59:56 | |
That will be 5,000 colones. | 0:59:56 | 0:59:59 | |
-5,000? -Yeah, 5,000. -So that's 5,000 Costa Rican colones. | 0:59:59 | 1:00:03 | |
That will be 5,000 colonies. | 1:00:03 | 1:00:05 | |
-5,000? -Yeah, yeah, 5,000. | 1:00:05 | 1:00:08 | |
-5,000 is a lot of money. -Yes, I know, but... | 1:00:08 | 1:00:11 | |
Oh, it's now 5,000? Big mistake. | 1:00:11 | 1:00:14 | |
At the current exchange rate, 5,000 is... | 1:00:14 | 1:00:17 | |
No wonder this film had no cash for the special effects. | 1:00:21 | 1:00:25 | |
Monsters again and this completely deserted town | 1:00:28 | 1:00:32 | |
isn't quite as deserted as it seems. | 1:00:32 | 1:00:35 | |
Now, before you cower behind the sofa, take another look. | 1:00:35 | 1:00:38 | |
It seems the ali-ons prefer pick-up trucks to spaceships | 1:00:41 | 1:00:43 | |
when they pop to the shop for a pint of milk and a family-sized Galaxy. | 1:00:43 | 1:00:49 | |
Here's feisty teen Ree in gritty drama Winter's Bone. | 1:00:51 | 1:00:56 | |
This confrontation looks like | 1:00:56 | 1:00:58 | |
it'll get pretty tense as the gloves are well and truly off. | 1:00:58 | 1:01:01 | |
No, hang on, they're back on again. | 1:01:02 | 1:01:05 | |
Phew, looks like all will be fine after all. | 1:01:08 | 1:01:12 | |
No, wait, they're off again! Oh, make your mind up, love. | 1:01:13 | 1:01:16 | |
So often with films, the stars get the awards, | 1:01:18 | 1:01:21 | |
but what about those people behind the scenes? How do they get noticed? | 1:01:21 | 1:01:25 | |
They could become the best in their field or work their way up to become a famous director. | 1:01:25 | 1:01:29 | |
Or they could just stand in the back of shot. | 1:01:29 | 1:01:31 | |
Well, that's exactly what we're awarding now - | 1:01:31 | 1:01:34 | |
those people who went that extra distance | 1:01:34 | 1:01:36 | |
from out-of-shot to into shot. | 1:01:36 | 1:01:38 | |
What? | 1:01:40 | 1:01:42 | |
It's the Great Movie Mistakes Award for Best Supporting Actor, | 1:01:44 | 1:01:47 | |
and here are the nominations. | 1:01:47 | 1:01:50 | |
Lightweight action from Knight And Day and some great scene stealing. | 1:01:50 | 1:01:54 | |
Look at the security guards behind Cameron Diaz. | 1:01:54 | 1:01:57 | |
They suddenly change into normal civilians | 1:02:00 | 1:02:03 | |
and then back into security guards at the top of the escalator. | 1:02:03 | 1:02:08 | |
Maybe they were just working undercover for a bit. | 1:02:09 | 1:02:12 | |
If you've got a problem, maybe you can hire The A-Team, | 1:02:17 | 1:02:21 | |
to clean your windows, because... | 1:02:21 | 1:02:23 | |
Let's go back. | 1:02:23 | 1:02:26 | |
Mr T has got that window so clean, | 1:02:26 | 1:02:28 | |
you can see the cameraman's own reflection in it. | 1:02:28 | 1:02:31 | |
A blatant and unwelcome cameo. A bit like the movie. | 1:02:33 | 1:02:37 | |
In seen-it-all-before thriller The Resident, | 1:02:40 | 1:02:44 | |
Jack returns to his flat and senses all is not right. | 1:02:44 | 1:02:48 | |
If it the presence of a ghostly character? | 1:02:48 | 1:02:51 | |
Or just the reflection of the clumsy cameraman in his kitchen window? | 1:02:51 | 1:02:56 | |
Time to move out, if you ask me, Jack. | 1:02:56 | 1:02:59 | |
Who are you texting? | 1:03:01 | 1:03:03 | |
It's crazy horror comedy Vampires Suck | 1:03:03 | 1:03:06 | |
and Alice gets a mobile phone right in the face. | 1:03:06 | 1:03:09 | |
Now, either Edward is a very good shot or someone just off camera | 1:03:09 | 1:03:15 | |
is throwing a mobile phone right in her face. | 1:03:15 | 1:03:17 | |
There, thrown from point-blank range. | 1:03:19 | 1:03:22 | |
That's a bit "phoney"! | 1:03:22 | 1:03:24 | |
But the winner is Man In Shorts. | 1:03:28 | 1:03:31 | |
It's the climax of the testosterone-dripping Expendables | 1:03:31 | 1:03:36 | |
and all hell is breaking loose. | 1:03:36 | 1:03:38 | |
Everyone's running for their lives, | 1:03:38 | 1:03:40 | |
but hold on, who's this fellow in Bermuda shorts with the camcorder? | 1:03:40 | 1:03:44 | |
A very unfortunate tourist? | 1:03:44 | 1:03:48 | |
Next year, I'd stick to Rhyl. There's fewer explosions. | 1:03:48 | 1:03:51 | |
Science fiction. So much more popular | 1:03:53 | 1:03:56 | |
than its boring older brother, science fact. | 1:03:56 | 1:03:58 | |
My favourite type of sci-fi used to be films set in dystopian futures, | 1:03:58 | 1:04:02 | |
which portrayed a world dominated by technology, totalitarian governments | 1:04:02 | 1:04:06 | |
and the collapse of society as we know it. But nowadays, | 1:04:06 | 1:04:09 | |
I can get exactly the same thing just by watching the news. | 1:04:09 | 1:04:13 | |
The baffling Inception now. | 1:04:15 | 1:04:17 | |
I think this film's about the new sport extreme sleeping, | 1:04:17 | 1:04:20 | |
where people have to sleep through anything. | 1:04:20 | 1:04:23 | |
Here, they listen to boring music to drift away. | 1:04:23 | 1:04:27 | |
Ah, yes, the falling off the bridge event - very tricky - | 1:04:29 | 1:04:33 | |
especially if your headphones have come off. | 1:04:33 | 1:04:36 | |
What's he going to do now? | 1:04:36 | 1:04:38 | |
Without Coldplay's greatest hits playing, he'll surely wake up. | 1:04:38 | 1:04:41 | |
Oh, phew, they're back on. And he's ready to be plunged into the river. | 1:04:41 | 1:04:46 | |
In this clip, we see Cillian Murphy get shot once in the chest. | 1:04:48 | 1:04:53 | |
But when they come to help him, there are two bullet wounds. | 1:04:56 | 1:05:01 | |
Well, as the saying goes, shoot me once, shame on you. | 1:05:01 | 1:05:04 | |
Shoot me twice, shame on the continuity guy. | 1:05:04 | 1:05:08 | |
Next up, Battle: Los Angeles. A film that focuses too much on the action | 1:05:10 | 1:05:15 | |
and not enough on the dialogue. | 1:05:15 | 1:05:17 | |
Here, the soldiers prefer to bark rather than talk. | 1:05:17 | 1:05:20 | |
-HE SLURS: Right, we're up. -What's that, | 1:05:20 | 1:05:23 | |
Lassie(?) In this scene, the aliens are on the run and Aaron Eckhart is | 1:05:25 | 1:05:29 | |
trying to choose which gun goes best with his outfit. | 1:05:29 | 1:05:32 | |
Pistol? Yeah, pistol. | 1:05:35 | 1:05:37 | |
Or machine gun? No, pistol, gotta be pistol. | 1:05:39 | 1:05:43 | |
Taut, exciting thrills from Source Code now. | 1:05:47 | 1:05:50 | |
And this is Jake Can't-Pronounce-His-Last-Name | 1:05:50 | 1:05:53 | |
swiping a wallet to check out a driver's licence. | 1:05:53 | 1:05:57 | |
-You have the bomber's name? -Derek Frost. | 1:05:59 | 1:06:02 | |
Yes, that's the only thing he has, | 1:06:02 | 1:06:04 | |
because all the other details are completely different. | 1:06:04 | 1:06:07 | |
Look - address, date of birth, height. All of it! | 1:06:07 | 1:06:12 | |
Next up, the vile chiller Splice, and we see Adrian Brody doing... | 1:06:15 | 1:06:21 | |
-BELT RATTLES -Well, yeah, never mind that. | 1:06:21 | 1:06:24 | |
Watch Sarah Polley. Look, she's left the door open. | 1:06:24 | 1:06:28 | |
But then she opens the already-open door. | 1:06:29 | 1:06:32 | |
Nearly as strange as what Brody was up to. | 1:06:32 | 1:06:35 | |
Take a look at the Splice girl's dress. | 1:06:38 | 1:06:42 | |
Because, hanging upside down, you would imagine | 1:06:44 | 1:06:47 | |
it would fall down around her shoulders. | 1:06:47 | 1:06:50 | |
Sporty AND Scary Splice! | 1:06:53 | 1:06:56 | |
Films about true life next. | 1:07:00 | 1:07:03 | |
Films like 127 Hours, a true story of a man stuck in a canyon for days. | 1:07:03 | 1:07:08 | |
I got stuck on the M25 for what felt like 127 hours once. | 1:07:08 | 1:07:12 | |
I didn't chop off my own arm, did I? No, I did not! | 1:07:12 | 1:07:15 | |
I did, however, wee in a Coke bottle, | 1:07:15 | 1:07:18 | |
eat a family bag of Wotsits and openly cry, | 1:07:18 | 1:07:21 | |
but apparently, that story's not Hollywood material! | 1:07:21 | 1:07:24 | |
Tch! | 1:07:24 | 1:07:26 | |
It's super nerd Mark Zuckerberg, although he can't be that nerdy. | 1:07:28 | 1:07:33 | |
He's mates with Justin Timberlake. | 1:07:33 | 1:07:35 | |
Oh, good catch, Justin. | 1:07:35 | 1:07:37 | |
Sharon? | 1:07:38 | 1:07:39 | |
SMASH! | 1:07:39 | 1:07:40 | |
-Oh, no! -I'm so sorry! -Mark! | 1:07:40 | 1:07:43 | |
-Girls can't catch! -Here you go. -No, wait! | 1:07:43 | 1:07:46 | |
Luckily, it was one of those completely empty beer bottles | 1:07:47 | 1:07:50 | |
kept for situations like this. | 1:07:50 | 1:07:53 | |
-I'm so sorry. -Look, no stain on the wall. | 1:07:54 | 1:07:57 | |
Or maybe Zuckerberg's so rich, | 1:07:57 | 1:07:59 | |
he can afford beer that tidies up after itself. | 1:07:59 | 1:08:02 | |
Here's sweaty Christian Bale in the honest and hard-edged The Fighter. | 1:08:05 | 1:08:09 | |
Look at his T-shirt. Drenched! | 1:08:11 | 1:08:13 | |
But after a long walk in the sun, the sweat seems to have disappeared. | 1:08:17 | 1:08:20 | |
What's his antiperspirant? | 1:08:22 | 1:08:24 | |
Not one with 24-hour protection, as he's drenched again. | 1:08:27 | 1:08:30 | |
Look at Mark Wahlberg's fit bod as Micky Ward in The Fighter. | 1:08:33 | 1:08:37 | |
Not a tattoo in sight. | 1:08:37 | 1:08:39 | |
But cut to him in bed and what's this? | 1:08:39 | 1:08:43 | |
It's Mark's tat of Bob Marley, which Micky never had in real life. | 1:08:43 | 1:08:48 | |
Eddy Grant on the inner thigh, though? That's a possibility. | 1:08:48 | 1:08:52 | |
A young John Lennon with his nasal singing voice | 1:08:54 | 1:08:57 | |
in the unsentimental Nose-where Boy. | 1:08:57 | 1:09:00 | |
-Sorry, Nowhere Boy. -# You're my little girl! # | 1:09:00 | 1:09:04 | |
But when he stops singing, we see the tape is at the start of the reel | 1:09:04 | 1:09:07 | |
and the song couldn't have been recorded. | 1:09:07 | 1:09:10 | |
Which is lucky, as it sounded horrific. | 1:09:11 | 1:09:14 | |
We had great success... | 1:09:16 | 1:09:18 | |
A scene from the so-called documentary I'm Still Here | 1:09:18 | 1:09:22 | |
and look at the glasses hanging off the shirt of Joaquin Phoenix | 1:09:22 | 1:09:26 | |
or whatever he's called. | 1:09:26 | 1:09:28 | |
-Look, they've vanished. -I have a little studio, d'you know? | 1:09:28 | 1:09:32 | |
Puffy Combs, or whatever he's called, doesn't notice. | 1:09:32 | 1:09:35 | |
I'm excited to hear this stuff. I want to hear if you... | 1:09:35 | 1:09:38 | |
And now they're back. Mo sunglasses, mo problems. | 1:09:38 | 1:09:43 | |
More than seven square miles... | 1:09:45 | 1:09:47 | |
Harsh realities from Made In Dagenham now, | 1:09:47 | 1:09:50 | |
a British film harping back to the glorious era | 1:09:50 | 1:09:53 | |
where 55,000 men worked in a car factory with only 187 women. | 1:09:53 | 1:09:58 | |
That's because the men knew they were talking about back then. | 1:09:58 | 1:10:01 | |
-Are you threatening me? -Let's listen. | 1:10:01 | 1:10:04 | |
I'm trying to stop 40,000 people from losing their jobs, Mrs Castle. | 1:10:04 | 1:10:07 | |
That's how many people work as Ford employees in this country, not to mention... | 1:10:07 | 1:10:11 | |
I thought it was 55,000, you berk? Let the women take over, I say. | 1:10:11 | 1:10:16 | |
It's raining in Dagenham. | 1:10:19 | 1:10:21 | |
Look at that poor old guy outside with his brolly. | 1:10:21 | 1:10:24 | |
He can't wait to get inside in the dry. | 1:10:24 | 1:10:26 | |
I'm lucky you weren't getting the lads to hold out for a full house. | 1:10:26 | 1:10:29 | |
Get yourself home, man! | 1:10:29 | 1:10:31 | |
All over the country... | 1:10:31 | 1:10:33 | |
Later on and now he must be somewhere nice and warm. | 1:10:33 | 1:10:36 | |
Oh, no, no. There he is again. Maybe he likes the rain. | 1:10:36 | 1:10:40 | |
You'll always be fighting over the scraps on the top table... | 1:10:40 | 1:10:43 | |
And again. | 1:10:43 | 1:10:45 | |
Get equal pay, yeah. | 1:10:45 | 1:10:46 | |
And again. | 1:10:48 | 1:10:50 | |
He just can't get enough of it. Get inside, man, you'll catch your death! | 1:10:50 | 1:10:53 | |
What I don't get is why it's so important to you. | 1:10:53 | 1:10:57 | |
Compelling drama from Conviction and Kenny's been freed from jail, | 1:11:00 | 1:11:04 | |
but maybe he should be banged straight up again for crimes against continuity. | 1:11:04 | 1:11:08 | |
-His offences are many. No hat, your honour. -Will you thank your sister? | 1:11:08 | 1:11:12 | |
And now, a hat. | 1:11:12 | 1:11:14 | |
-Holding his scarf, your honour. -Is this for us? -Yes, it's for you. | 1:11:16 | 1:11:20 | |
And now suddenly wearing it again. The prosecution rests. | 1:11:20 | 1:11:25 | |
Next up, we're looking at teen movies, | 1:11:27 | 1:11:30 | |
which, for a man only recently out of his teens - that's right - is exactly my thing. | 1:11:30 | 1:11:34 | |
-MOBILE PHONE RINGS -They're cool, wicked and totally radical. Oh, excuse me. | 1:11:34 | 1:11:39 | |
Oh, hey, Dazza! Yeah? What's up, dude? | 1:11:39 | 1:11:42 | |
Yeah, I would love to come down the Rec and skateboard with you. | 1:11:42 | 1:11:46 | |
Hang on. Mum, I'm going down the Rec with Dazza. | 1:11:46 | 1:11:49 | |
-HIGH-PITCHED VOICE: -Not until you've finished hosting the show. | 1:11:49 | 1:11:52 | |
But, Mum! | 1:11:52 | 1:11:54 | |
-No buts. -I can't come out. See you tomoz. | 1:11:54 | 1:11:58 | |
Here are some classic goofs from teen films. | 1:12:00 | 1:12:03 | |
-Say it nicely! -Here are some classic goofs from teen films. | 1:12:03 | 1:12:07 | |
I saw that! | 1:12:09 | 1:12:11 | |
Next, in the light-hearted Easy A, Olive shows this boy what's what | 1:12:14 | 1:12:18 | |
by crushing an ice-cream cone in front of his face. | 1:12:18 | 1:12:22 | |
But the cone instantly reappears. Here today, cone tomorrow. | 1:12:22 | 1:12:27 | |
Now, watch Olive trying to take off her left boot | 1:12:31 | 1:12:33 | |
Is that lavender? It's pretty. | 1:12:33 | 1:12:36 | |
Which becomes her right boot, then she takes off her right boot again, | 1:12:36 | 1:12:40 | |
but somehow she's removed both her boots! | 1:12:40 | 1:12:43 | |
A clear example of two rights making a wrong. | 1:12:43 | 1:12:47 | |
In energetic Step Up 3D, it's the dance battle. | 1:12:50 | 1:12:53 | |
And as any B-boy knows, things get hot on the dance floor, | 1:12:53 | 1:12:58 | |
which is why the guy who's with those men pretending to be dogs | 1:12:58 | 1:13:01 | |
keeps taking his coat off. | 1:13:01 | 1:13:03 | |
Now you see it... | 1:13:05 | 1:13:06 | |
Now you don't. | 1:13:06 | 1:13:08 | |
Reminds me of my Nan's 80th. That was a lively affair. | 1:13:08 | 1:13:12 | |
Another one from Step Up, and take a look at Moose's bag, | 1:13:15 | 1:13:19 | |
because it's only on in the shots from behind. | 1:13:19 | 1:13:22 | |
Yeah, I mean I... | 1:13:22 | 1:13:24 | |
I'm a double major | 1:13:24 | 1:13:25 | |
Now, I know it's a backpack, | 1:13:25 | 1:13:27 | |
but you'd still see the strap on the front, right? | 1:13:27 | 1:13:29 | |
Yes? | 1:13:29 | 1:13:30 | |
What do you mean, you can't believe it? | 1:13:30 | 1:13:33 | |
It's Submarine, a reflective film about a son | 1:13:35 | 1:13:38 | |
trying to smooth out the creases in his parents' relationship. | 1:13:38 | 1:13:42 | |
And by the looks of things, | 1:13:44 | 1:13:45 | |
he's also smoothing out the creases in this drawing. | 1:13:45 | 1:13:49 | |
See? The fold's gone. | 1:13:49 | 1:13:51 | |
No need to set it on fire, though! | 1:13:51 | 1:13:54 | |
Oh! Kids! | 1:13:54 | 1:13:56 | |
Finally, a flashback scene in the worthless Twilight sequel, Eclipse. | 1:13:59 | 1:14:03 | |
Now, clothes in those days were made to last. | 1:14:03 | 1:14:08 | |
Look at that! | 1:14:08 | 1:14:10 | |
She stabs right through her dress and it doesn't even rip. | 1:14:10 | 1:14:13 | |
You don't get that kind of quality at Primark, do you? | 1:14:13 | 1:14:16 | |
And now another film's storyline flaws are reviewed and exposed | 1:14:18 | 1:14:22 | |
in Great Plot Hole Mistakes. | 1:14:22 | 1:14:24 | |
M Night Shyamalamadingdong's outlandish and far-fetched | 1:14:24 | 1:14:27 | |
2002 film Signs stars Mel Gibson | 1:14:27 | 1:14:30 | |
as a man who finds crop circles in his field which, it turns out, | 1:14:30 | 1:14:34 | |
is the work of ali-ons. | 1:14:34 | 1:14:36 | |
They've chosen to invade Earth for reasons that are mainly explained in crop circles, | 1:14:36 | 1:14:40 | |
which we can't understand. | 1:14:40 | 1:14:41 | |
Fortunately, the one substance able to destroy the ali-ons is water, | 1:14:41 | 1:14:46 | |
so they're fairly easily defeated. The End. | 1:14:46 | 1:14:48 | |
So what made the water-fearing ali-ons choose planet Earth, you might wonder? | 1:14:48 | 1:14:53 | |
-Just a minute, Lionel, did you say Planet Earth? -That's right. | 1:14:53 | 1:14:57 | |
But 71% of the earth's surface is water, which is lethal to us ali-ons. | 1:14:57 | 1:15:02 | |
Yes. | 1:15:02 | 1:15:03 | |
What about Mars? That's nice and dry. | 1:15:03 | 1:15:06 | |
There hasn't been water on Mars for ages. | 1:15:06 | 1:15:08 | |
Yes, but where's the challenge in that? Come on. | 1:15:08 | 1:15:12 | |
Are you an ali-on or a mouse? | 1:15:12 | 1:15:14 | |
OK, OK. | 1:15:14 | 1:15:15 | |
So, we go to one of the dry bits of Earth, like the Atacama Desert? | 1:15:15 | 1:15:19 | |
No, we go to nice verdant farming country | 1:15:19 | 1:15:22 | |
and choose specifically the house of a family of water-filled humans | 1:15:22 | 1:15:25 | |
whose daughter has a strange obsession with water. | 1:15:25 | 1:15:28 | |
But we'll be wearing protective waterproof clothing, yes? | 1:15:28 | 1:15:32 | |
No, I thought we'd go naked. | 1:15:32 | 1:15:33 | |
Naked?! What if they spit at us? | 1:15:33 | 1:15:36 | |
I don't know about you, but when I'm crowing over puny humans, | 1:15:36 | 1:15:39 | |
I like to have my guys out, swinging in the breeze. | 1:15:39 | 1:15:43 | |
I'm worried this might be the worst idea you've ever had, Lionel. | 1:15:43 | 1:15:47 | |
No, that was instant mashed potato. | 1:15:47 | 1:15:49 | |
THEY LAUGH | 1:15:49 | 1:15:52 | |
Why does Hollywood love remakes so much? | 1:15:54 | 1:15:57 | |
Well, sometimes a film is so close to being brilliant | 1:15:57 | 1:16:00 | |
but there's just one tiny thing that stops it being perfect, | 1:16:00 | 1:16:03 | |
like it's foreign, or it was made over ten years ago. | 1:16:03 | 1:16:06 | |
Things that stop anyone in their right mind wanting to watch it. | 1:16:06 | 1:16:09 | |
The other reason to remake a movie is if the original didn't quite get it right. | 1:16:09 | 1:16:13 | |
Who didn't think that Get Carter was improved by the addition of Sylvester Stallone? | 1:16:13 | 1:16:18 | |
Or that The Italian Job was crying out for a cameo by Marky Mark? | 1:16:18 | 1:16:21 | |
I, for one, can't wait for next year's summer blockbuster, | 1:16:21 | 1:16:24 | |
Citizen Kane... | 1:16:24 | 1:16:25 | |
with Miley Cyrus. | 1:16:25 | 1:16:27 | |
Mm. | 1:16:27 | 1:16:28 | |
The needless, over-the-top A-Team movie, | 1:16:30 | 1:16:34 | |
and maybe they should give up this soldiers-of-fortune malarkey | 1:16:34 | 1:16:37 | |
and become baggage handlers. Watch the case by the side of BA. | 1:16:37 | 1:16:41 | |
I want to kill you, man. | 1:16:41 | 1:16:43 | |
You're not going to kill me! I'm going to kill YOU! | 1:16:43 | 1:16:45 | |
It's now behind his head... | 1:16:45 | 1:16:47 | |
I got two guns here. | 1:16:47 | 1:16:49 | |
..then on the other side. | 1:16:50 | 1:16:53 | |
It moves around more than Hannibal's wig did in the old series. | 1:16:53 | 1:16:56 | |
Whoopsie! | 1:16:56 | 1:16:57 | |
Loyal fans of The A-Team had problems with the remake, | 1:16:59 | 1:17:03 | |
and this must have got their blood boiling. | 1:17:03 | 1:17:06 | |
Look, they've mis-spelled Murdock's name! | 1:17:06 | 1:17:08 | |
It's D-O-C-K, not D-O-C-H. | 1:17:08 | 1:17:11 | |
I pity the fool who made that mistake. | 1:17:11 | 1:17:15 | |
Saying that, I also pity the person | 1:17:15 | 1:17:17 | |
who still cares so much about The A-Team. | 1:17:17 | 1:17:20 | |
At the end of the instantly forgettable Mechanic remake, | 1:17:24 | 1:17:27 | |
Ben Foster selects a jazz record to play on the posh turntable. | 1:17:27 | 1:17:32 | |
Ah! I love a bit of free form experimental jazz. | 1:17:32 | 1:17:35 | |
CLASSICAL MUSIC PLAYS | 1:17:35 | 1:17:40 | |
Hang on! It's ruddy Shubert's Trio Number Two! | 1:17:40 | 1:17:43 | |
But it definitely says "Jazz" on the cover. | 1:17:44 | 1:17:49 | |
Right, back to HMV. | 1:17:49 | 1:17:51 | |
Gulliver's Travels with Jack Black, | 1:17:53 | 1:17:56 | |
perfect casting, as the book was all about a loveable, | 1:17:56 | 1:17:59 | |
immature, rock-loving idiot. | 1:17:59 | 1:18:00 | |
Cos he called it a "mandate", so... | 1:18:00 | 1:18:02 | |
The kind of character that doesn't know his right hand from his left. | 1:18:02 | 1:18:05 | |
-..bushy-tailed for the boys. -The right... | 1:18:05 | 1:18:07 | |
Now the left. | 1:18:07 | 1:18:10 | |
Jonathan Swift can rest easy that his work is in safe, | 1:18:10 | 1:18:13 | |
but confused hands. | 1:18:13 | 1:18:15 | |
We just got here. | 1:18:15 | 1:18:16 | |
In the final scene, Gulliver returns from his travels | 1:18:18 | 1:18:21 | |
and gains this girlfriend. | 1:18:21 | 1:18:24 | |
When I returned from my travels, all I gained was a case of the trots. | 1:18:24 | 1:18:28 | |
But what has she got to hide? | 1:18:28 | 1:18:31 | |
Her ID is the wrong way round, | 1:18:31 | 1:18:33 | |
Danke schon. | 1:18:33 | 1:18:34 | |
then it flips... | 1:18:34 | 1:18:36 | |
Mark. I'm just the new guy in the mailroom... | 1:18:36 | 1:18:39 | |
Now it's hidden again. Hm...mysterious. | 1:18:39 | 1:18:43 | |
Some films just don't know when to quit making mistakes. | 1:18:45 | 1:18:48 | |
In the end credits for Gulliver's Travels, | 1:18:48 | 1:18:51 | |
check out the date on this newspaper. | 1:18:51 | 1:18:54 | |
June 20th to June 3rd? | 1:18:54 | 1:18:56 | |
Someone obviously feels like time was moving backwards | 1:18:56 | 1:18:59 | |
when they were watching this film. I didn't. | 1:18:59 | 1:19:02 | |
Off to Jellystone Park for the charmless Yogi Bear movie. | 1:19:04 | 1:19:09 | |
Booboo has handcuffed Yogi to a tree. | 1:19:09 | 1:19:12 | |
But keep an eye on which paw the handcuff is on. | 1:19:12 | 1:19:15 | |
First it's his right paw, | 1:19:16 | 1:19:19 | |
then it's his left paw, | 1:19:19 | 1:19:21 | |
then his right paw again. | 1:19:21 | 1:19:24 | |
Either way, it's very PAW indeed. | 1:19:24 | 1:19:26 | |
Hello and welcome to Pointless View, | 1:19:33 | 1:19:35 | |
the programme where you have the chance to blow off about the things that really ruin films for you. | 1:19:35 | 1:19:40 | |
You know how it is. | 1:19:40 | 1:19:41 | |
It's impossible to follow a story if a flag's upside down, isn't it? | 1:19:41 | 1:19:44 | |
I personally had Braveheart ruined for me by an errant tartan | 1:19:44 | 1:19:48 | |
and Mel Gibson not being a blue 13th-century Scotsman, | 1:19:48 | 1:19:51 | |
but a brownish 20th-century Australian. | 1:19:51 | 1:19:54 | |
Here's a letter from Zorro Madeley of Funningham. | 1:19:54 | 1:19:58 | |
How was I expected to enjoy the wizardry-pokery of Harry Potter and The Deathly Hallows | 1:19:58 | 1:20:02 | |
when it featured a bus bound for Dartford, to the south, | 1:20:02 | 1:20:05 | |
seen taking the tunnel north, | 1:20:05 | 1:20:07 | |
even though southbound traffic takes the bridge? | 1:20:07 | 1:20:10 | |
There hasn't been a southbound tunnel at Dartford since 1991. | 1:20:10 | 1:20:13 | |
From that point on, I felt it impossible | 1:20:13 | 1:20:15 | |
to believe in the enchanted chosen one of Hogwarts. | 1:20:15 | 1:20:18 | |
I'm not an idiot. | 1:20:18 | 1:20:19 | |
Precious Haystacks of Bumley says this. | 1:20:19 | 1:20:23 | |
In the so-called King's Speech, | 1:20:23 | 1:20:25 | |
the eponymous King's eponymous speech is enjoyed live | 1:20:25 | 1:20:30 | |
by a group of factory workers. It was broadcast at six pm on a Sunday, | 1:20:30 | 1:20:35 | |
so the only factory operating at such a time in a Christian country like Great Britain | 1:20:35 | 1:20:39 | |
would have been one run by Satan. | 1:20:39 | 1:20:42 | |
Am I to believe that our King would broadcast to the minions of hell? | 1:20:42 | 1:20:47 | |
I'm not an idiot. | 1:20:47 | 1:20:48 | |
Wing Commander Flava Tebbit is exercised by the shape of melted sand. | 1:20:48 | 1:20:52 | |
As someone who only watches films for the glassware in them, | 1:20:52 | 1:20:56 | |
I was enraged by the John Lennon biopic Nowhere Boy, | 1:20:56 | 1:21:00 | |
in which the Beatle-to-be is seen drinking from a nonic pint glass, | 1:21:00 | 1:21:04 | |
a type not invented until nearly three years after the scene was set. | 1:21:04 | 1:21:09 | |
I'm not a man given to tears, but I cried for nearly a fortnight, | 1:21:09 | 1:21:14 | |
and am now taking medicine. | 1:21:14 | 1:21:16 | |
I'm not an idiot. | 1:21:16 | 1:21:18 | |
I'm glad to hear it, Wing Commander. | 1:21:18 | 1:21:20 | |
A Mr Puff Diddy Hamilton of Underdunderden says... | 1:21:20 | 1:21:22 | |
I'm known for my sense of humour, and have laughed twice, | 1:21:22 | 1:21:26 | |
but I failed to see the joke in Drive Angry, | 1:21:26 | 1:21:28 | |
when a hydrogen truck is shown | 1:21:28 | 1:21:30 | |
labelled with a hazardous material placard bearing the number 1075. | 1:21:30 | 1:21:34 | |
1075, as any film buff knows, is the UN number for propane. | 1:21:34 | 1:21:38 | |
Hydrogen is in the range 1048-1053, | 1:21:38 | 1:21:40 | |
and I shall be returning the director's pretty young wife | 1:21:40 | 1:21:44 | |
to him piece by piece until this is corrected. | 1:21:44 | 1:21:46 | |
I'm not an idiot. | 1:21:46 | 1:21:48 | |
Blind Lemon Palmer-Tomkinson of Walton-on-Toast is even more forthright. | 1:21:48 | 1:21:52 | |
In the Kate Hudson film A Little Bit Of Heaven, | 1:21:52 | 1:21:56 | |
one of the characters calls a radio station to enter a competition. | 1:21:56 | 1:21:59 | |
My enjoyment was quite ruined by the absence of a squeal of feedback, | 1:21:59 | 1:22:04 | |
such as would have been heard. | 1:22:04 | 1:22:05 | |
-Hello? -'Who is this?' -Marley Corbett. Did I win? | 1:22:05 | 1:22:10 | |
I'm sure plenty of people would have liked to hear a howl of interference | 1:22:10 | 1:22:14 | |
and painful high-pitched whistling in this otherwise rather quiet film. | 1:22:14 | 1:22:19 | |
I'm not an idiot. | 1:22:19 | 1:22:20 | |
Pontius Bon Jovi of Gloveswold has a bee in his ointment | 1:22:20 | 1:22:24 | |
about the Anne Hathaway film Love And Other Drugs. | 1:22:24 | 1:22:27 | |
Jake Gyllenhaaaal's character is seen to be using an iMac | 1:22:27 | 1:22:31 | |
attached to an Apple Pro Mouse in what's supposed to be 1996. | 1:22:31 | 1:22:35 | |
But the Pro wasn't available until 2000. | 1:22:35 | 1:22:38 | |
To my disappointment, this time-travelling subplot wasn't picked up on anywhere in the film. | 1:22:38 | 1:22:43 | |
Perhaps the makers were worried that | 1:22:43 | 1:22:45 | |
if Jake Gyllenhaaaal were able to travel four years into the future, | 1:22:45 | 1:22:49 | |
it would ruin the will-they, won't-they romance. | 1:22:49 | 1:22:51 | |
I was sick in my mouth and someone else's and went home. | 1:22:51 | 1:22:54 | |
I'm not an idiot. | 1:22:54 | 1:22:55 | |
But it's not all bad news. | 1:22:55 | 1:22:58 | |
This letter is from Seven Zark Mountbatten of The Isle Of Teeth. | 1:22:58 | 1:23:01 | |
I usually enjoy the films of Angelina Jolie, | 1:23:01 | 1:23:04 | |
who is a beautiful and striking woman. | 1:23:04 | 1:23:06 | |
But in Salt, her character's name was Chenkov, a Russian male surname. | 1:23:06 | 1:23:10 | |
The female version would, of course, be Chenkova. | 1:23:10 | 1:23:13 | |
As a result of this error, I have become homosexual, | 1:23:13 | 1:23:15 | |
a consequence both unexpected and fabulous. | 1:23:15 | 1:23:18 | |
I'm not an idiot. | 1:23:18 | 1:23:19 | |
A satisfied customer? Good night. | 1:23:19 | 1:23:22 | |
For a shoot to be successful, the whole team, | 1:23:27 | 1:23:30 | |
including those behind the camera, have to be at the top of their game. | 1:23:30 | 1:23:33 | |
Every member of the crew has a vital part to play, and must never lose concentration. | 1:23:33 | 1:23:37 | |
For example, if the focus puller loses focus, | 1:23:37 | 1:23:40 | |
then there will be a loss of focus because the focus puller lost focus. | 1:23:40 | 1:23:44 | |
That's not a great example, but you know what I mean. | 1:23:44 | 1:23:46 | |
Everyone has an important job to do, from the soundman to the editor, | 1:23:46 | 1:23:50 | |
right down to the runner who brings the star his coffee. | 1:23:50 | 1:23:54 | |
Argh! What the hell?! I asked for a soy latte with an extra shot! | 1:23:54 | 1:23:59 | |
That didn't have an extra shot! What the hell were you thinking? | 1:23:59 | 1:24:02 | |
Sorry. | 1:24:02 | 1:24:03 | |
Here are some absolute clangers that happened purely because | 1:24:03 | 1:24:06 | |
the crew weren't paying enough attention. | 1:24:06 | 1:24:09 | |
Standing there crying isn't going to bring me the right coffee, is it? | 1:24:09 | 1:24:12 | |
Boo hoo hoo! | 1:24:12 | 1:24:13 | |
Get him out of here. | 1:24:13 | 1:24:15 | |
Relentless action in The Tourist, | 1:24:18 | 1:24:20 | |
where Angelina, in France, imaginatively orders a croissant. | 1:24:20 | 1:24:24 | |
But, zut alors! She's actually been brought a pain au chocolat. | 1:24:31 | 1:24:35 | |
Look how angry she is! She's set fire to her menu! | 1:24:36 | 1:24:40 | |
Over in Venice now | 1:24:42 | 1:24:44 | |
and a handcuffed Johnny Depp is determined to earn his title | 1:24:44 | 1:24:47 | |
as The Tourist. | 1:24:47 | 1:24:48 | |
Look, he's going water skiing. | 1:24:50 | 1:24:53 | |
Rubbish, isn't he? | 1:24:53 | 1:24:54 | |
Oh, well, he's still handcuffed, so that'll restrict him. | 1:24:54 | 1:24:58 | |
Ah, apparently not. | 1:25:00 | 1:25:03 | |
He's pulling himself along quite easily there as if he's not handcuffed at all. | 1:25:03 | 1:25:08 | |
And if that's not enough, look! | 1:25:08 | 1:25:11 | |
There's a camera operator in the boat, too. | 1:25:13 | 1:25:17 | |
Phew, what a holiday this is turning out to be! | 1:25:17 | 1:25:19 | |
In Venice, they have taxi boats! Look, here's the taxi sign. | 1:25:21 | 1:25:26 | |
And as if having to get used to a boat that's also a taxi's not enough, | 1:25:27 | 1:25:31 | |
this taxi boat confuses us even more | 1:25:31 | 1:25:34 | |
by continuing to lose and then gain its taxi sign. | 1:25:34 | 1:25:38 | |
Here it's just a boat. | 1:25:39 | 1:25:41 | |
Now it's a taxi again. | 1:25:43 | 1:25:45 | |
Taxi for the editor? | 1:25:45 | 1:25:46 | |
I think so. | 1:25:46 | 1:25:48 | |
Agent Denise, Clifton Ward. | 1:25:48 | 1:25:50 | |
-You guys want anything? -Pretzels, all right? -Yeah. | 1:25:52 | 1:25:56 | |
It's the ice hockey! | 1:25:56 | 1:25:58 | |
But sadly, as this is The Dilemma, | 1:25:58 | 1:26:01 | |
we have to watch Vince Vaughan confront Winona Ryder about an alleged affair. | 1:26:01 | 1:26:05 | |
Boring! | 1:26:05 | 1:26:06 | |
Hey. | 1:26:06 | 1:26:08 | |
Well, at least the game's on the tellies, there. | 1:26:09 | 1:26:12 | |
But look closely and you see that the Chicago Blackhawks | 1:26:12 | 1:26:15 | |
are in different kit to the live game they were just playing. | 1:26:15 | 1:26:19 | |
What the puck?! | 1:26:19 | 1:26:20 | |
Vince Vaughan is back home empty handed. See? Nothing in his hands. | 1:26:24 | 1:26:29 | |
But his friends and family have arranged an intervention. | 1:26:29 | 1:26:32 | |
I guess we can start. | 1:26:32 | 1:26:35 | |
Ronnie, why don't you come join us? | 1:26:35 | 1:26:37 | |
They think he has a drink problem. Maybe they have a point. | 1:26:37 | 1:26:39 | |
Your family and friends are here because they love you, Ronald, | 1:26:39 | 1:26:43 | |
and they can't stand to see you destroy yourself any more. | 1:26:43 | 1:26:46 | |
Look! Next time we see his hands, a brown paper bag has appeared. | 1:26:46 | 1:26:50 | |
I bet it's full of booze. | 1:26:50 | 1:26:53 | |
It's violent crime flick Blitz, | 1:26:56 | 1:26:58 | |
and Jason Statham finds it hilarious | 1:26:58 | 1:27:00 | |
that the beer in his glass keeps changing levels. | 1:27:00 | 1:27:03 | |
Stop laughing, Jason, it's not big and it's not clever. | 1:27:08 | 1:27:12 | |
Though, I'd never say that to his face. | 1:27:12 | 1:27:15 | |
-Yes. -Shouldn't we promote one of our own? | 1:27:17 | 1:27:19 | |
Read all about it! Time travelling tabloid appears in the movie Blitz. | 1:27:19 | 1:27:23 | |
Superintendent Brown holds up a paper | 1:27:23 | 1:27:25 | |
where it's announced that a second cop has been shot. | 1:27:25 | 1:27:28 | |
Only a second cop hasn't been shot yet. | 1:27:28 | 1:27:32 | |
But when he is, look, the chief is reading the same paper. | 1:27:32 | 1:27:37 | |
What a scoop! | 1:27:37 | 1:27:39 | |
I wanted to say really quick that... | 1:27:42 | 1:27:44 | |
Sure-fire comedy hit Bridesmaids, | 1:27:44 | 1:27:46 | |
and Annie's tipsy and making a toast. That's never good. | 1:27:46 | 1:27:49 | |
I'd get confused and speak into the champagne flute | 1:27:49 | 1:27:52 | |
while taking sips from the microphone. | 1:27:52 | 1:27:54 | |
..helped shape who I am. I just want to thank you. | 1:27:54 | 1:27:57 | |
Oh, it seems Annie was having the same thought. They've swapped over. | 1:27:57 | 1:28:01 | |
-All right, let's see what's next. Another one. -Yeah. | 1:28:03 | 1:28:07 | |
I know who this is from. | 1:28:07 | 1:28:09 | |
Take a look at Megan's right hand. | 1:28:09 | 1:28:11 | |
The poor little treasure's been injured all film. | 1:28:11 | 1:28:15 | |
She should never have to work again. | 1:28:15 | 1:28:17 | |
Very good time in high school. | 1:28:17 | 1:28:19 | |
Hold on, the support's on her left hand now. She's not injured at all. | 1:28:19 | 1:28:23 | |
Benefit cheat! | 1:28:23 | 1:28:25 | |
Burn her! | 1:28:25 | 1:28:27 | |
Sure, horror movies are scary, | 1:28:29 | 1:28:31 | |
but are they scarier than things that happen in real life? | 1:28:31 | 1:28:34 | |
I've yet to see anything in a film that makes me jump more than | 1:28:34 | 1:28:37 | |
when you wake up and find you've slept through an alarm. | 1:28:37 | 1:28:40 | |
Sure, bad things happen to people in the Saw films, | 1:28:40 | 1:28:43 | |
but nothing as bad as accidentally calling your girlfriend by your ex-girlfriend's name. | 1:28:43 | 1:28:47 | |
Now that is terrifying. I love watching horror films, | 1:28:47 | 1:28:50 | |
but the atmosphere's got to be just right. | 1:28:50 | 1:28:52 | |
What I do is I light some candles and place them around the room | 1:28:52 | 1:28:55 | |
then put on some scary music before it starts, to get in the mood. | 1:28:55 | 1:28:59 | |
I pull the duvet over my head and then I'm thrown out the cinema. | 1:28:59 | 1:29:03 | |
It's the flat and pointless remake of I Spit On Your Grave. | 1:29:05 | 1:29:09 | |
Watch this video tape because it keeps changing position. | 1:29:09 | 1:29:13 | |
To my what? | 1:29:15 | 1:29:16 | |
This scene reminds me of my dad trying to work the video. | 1:29:16 | 1:29:20 | |
-Dad, you've put it the wrong way round. -What's on the tape? | 1:29:20 | 1:29:25 | |
-Is this some kind of -BLEEP -up joke? I'll smash the damn thing myself. | 1:29:25 | 1:29:28 | |
Dad, not that way either. | 1:29:28 | 1:29:30 | |
Any second, I expect this film to be wiped over with the snooker. | 1:29:30 | 1:29:35 | |
This is a shot he plays well. | 1:29:35 | 1:29:37 | |
Case 39 creates a self of menace and unease right from the start. | 1:29:41 | 1:29:46 | |
Don't believe me? Look at Renee Zellweger's car window. | 1:29:46 | 1:29:50 | |
First it's down. | 1:29:50 | 1:29:52 | |
Then it's up. | 1:29:52 | 1:29:54 | |
What malevolent force could be at work here? | 1:29:54 | 1:29:57 | |
The force of not paying attention, I wager. Hmm? | 1:29:57 | 1:30:01 | |
Another cock-up from case 39. Watch the knife as she takes it out. | 1:30:04 | 1:30:09 | |
In a second shot, it's much bigger. | 1:30:11 | 1:30:14 | |
Watch again. | 1:30:16 | 1:30:18 | |
Little knife... | 1:30:18 | 1:30:20 | |
Big knife! | 1:30:21 | 1:30:23 | |
Maybe when she first took it out it was just a bit cold. | 1:30:23 | 1:30:27 | |
Final clip from Case 39, and here we see a shape-shifting house. | 1:30:29 | 1:30:34 | |
Take a look at the corridor to her left. | 1:30:34 | 1:30:36 | |
Now it's a door. | 1:30:42 | 1:30:43 | |
And now the door is open. | 1:30:45 | 1:30:48 | |
I don't know whether to call an exorcist or Colin and Justin. | 1:30:50 | 1:30:54 | |
Honey, where are you? | 1:30:56 | 1:30:58 | |
Low-budget and low-rent Insidious now, | 1:30:58 | 1:31:00 | |
starring a rather casual Patrick Wilson with his shirt open. | 1:31:00 | 1:31:04 | |
Something's wrong. Quick, Patrick! Quicker! | 1:31:05 | 1:31:08 | |
BOY SCREAMS | 1:31:08 | 1:31:11 | |
Oh, you're finally here. Where have you been? | 1:31:11 | 1:31:14 | |
Oh, busy putting a tie on, | 1:31:14 | 1:31:16 | |
to look all smart for your distressed hysterical son. | 1:31:16 | 1:31:19 | |
-How thoughtful. -Are you OK? | 1:31:19 | 1:31:21 | |
And now, Patrick's investigating the ghostly noise outside. | 1:31:23 | 1:31:28 | |
But, the porch lightbulb's just gone. Nightmare! | 1:31:28 | 1:31:32 | |
Well, maybe the ghost will change it. | 1:31:34 | 1:31:37 | |
Oh, he did! | 1:31:37 | 1:31:39 | |
I don't trust ghosts, you can see right through them. | 1:31:39 | 1:31:43 | |
Things are getting really scary in Insidious now. | 1:31:45 | 1:31:49 | |
Patrick's approaching the red door. | 1:31:49 | 1:31:52 | |
Look at all that smoke. Where's it all coming from? | 1:31:52 | 1:31:55 | |
Oh, the smoke machine in the corner. | 1:31:58 | 1:32:01 | |
This next section is about anachronisms, | 1:32:03 | 1:32:05 | |
which is when a thing is historically out of place. | 1:32:05 | 1:32:07 | |
Like a computer in Robin Hood | 1:32:07 | 1:32:09 | |
or a mobile phone in The Importance Of Being Earnest, | 1:32:09 | 1:32:12 | |
or those trainers on a cameraman who lives in the year 2011! | 1:32:12 | 1:32:17 | |
Don't look like that, Paul, I'm just joking. | 1:32:17 | 1:32:19 | |
I'm only joking, mate, come on! Don't be like that. | 1:32:19 | 1:32:22 | |
Look at the good times we've had. | 1:32:22 | 1:32:24 | |
Look at this block of flats in the powerful true-life flick | 1:32:26 | 1:32:30 | |
Made In Dagenham. | 1:32:30 | 1:32:31 | |
It's 1968, but someone's so far ahead of their time, | 1:32:31 | 1:32:36 | |
they've already got a satellite dish | 1:32:36 | 1:32:38 | |
and can watch reruns of programmes that haven't yet been made. | 1:32:38 | 1:32:42 | |
Here's a Ronnie Barker look-alike, denying that his factory workers | 1:32:44 | 1:32:48 | |
are members of a troublesome political group. | 1:32:48 | 1:32:51 | |
Do you know what we're dealing with? | 1:32:51 | 1:32:53 | |
Socialist Workers' Party, Workers' Revolutionary Party, | 1:32:53 | 1:32:56 | |
-Revolutionary Communist -BLEEP -Party. | 1:32:56 | 1:32:59 | |
-Who's she with? -We don't actually think she's with anyone, sir. | 1:32:59 | 1:33:02 | |
We actually don't think she's a Communist. | 1:33:02 | 1:33:05 | |
But of course she isn't. None of these groups existed in the '60s. | 1:33:05 | 1:33:09 | |
I need a good trainer... | 1:33:12 | 1:33:14 | |
Secretariat is a plodding film, | 1:33:14 | 1:33:16 | |
but this old chap's getting down with the kids by showing off | 1:33:16 | 1:33:20 | |
his knowledge of 1972 hit movie Super Fly. | 1:33:20 | 1:33:23 | |
He's a French Canadian, dresses like Super Fly. | 1:33:23 | 1:33:28 | |
A shame that this film's set in 1969. Not so hip, Daddy-o. | 1:33:28 | 1:33:33 | |
It's inspirational '80s movie The Fighter, | 1:33:36 | 1:33:38 | |
where Marky Mark's funky bunch is swapped for some squabbling ladies. | 1:33:38 | 1:33:43 | |
But ignore them and look at the 2011 vehicle inspection sticker | 1:33:43 | 1:33:47 | |
in his buddy's car windscreen. | 1:33:47 | 1:33:50 | |
Trying to reverse away isn't going to help. | 1:33:50 | 1:33:52 | |
In '60s heart-warmer That's What I Am, | 1:33:56 | 1:33:59 | |
young Andy plays a drum kit with Sabian cymbals. | 1:33:59 | 1:34:02 | |
But Sabian didn't begin manufacturing cymbals until 1981. | 1:34:02 | 1:34:07 | |
That was certainly interesting. | 1:34:07 | 1:34:10 | |
Well, no, it certainly wasn't. | 1:34:10 | 1:34:12 | |
The bleak and frightening The Killer Inside Me, | 1:34:16 | 1:34:19 | |
and Casey Affleck's rummaging about in a lady's drawers. | 1:34:19 | 1:34:23 | |
Sheriff's office, ma'am, what are you doing with it? | 1:34:23 | 1:34:26 | |
I have a permit. | 1:34:26 | 1:34:28 | |
Apparently looking for a gun permit. | 1:34:28 | 1:34:31 | |
Something that's not needed to own a gun in Texas. | 1:34:31 | 1:34:34 | |
Satisfied, copper? | 1:34:34 | 1:34:36 | |
Hmm, a likely story. I think he just wants to fondle her pants. | 1:34:36 | 1:34:41 | |
I reckon it's all right. | 1:34:41 | 1:34:42 | |
-Now Casey's giving us his life story. -I was born here 29 years ago. | 1:34:48 | 1:34:52 | |
Central City was small enough... | 1:34:52 | 1:34:55 | |
But look, here's a modern USPS truck reflected in the window. | 1:34:55 | 1:35:00 | |
Born ruddy yesterday, more like. | 1:35:00 | 1:35:02 | |
These days, the world of animation can produce miraculous characters | 1:35:04 | 1:35:07 | |
that are out of this world. But don't just believe me. | 1:35:07 | 1:35:10 | |
Why don't we ask my animated sidekick? It's Squigaloo Squirrel. | 1:35:10 | 1:35:14 | |
Hello there, Squigaloo! | 1:35:15 | 1:35:17 | |
Oh, Squigaloo, you do say the silliest things. | 1:35:18 | 1:35:22 | |
HE LAUGHS | 1:35:22 | 1:35:24 | |
No, you are, Squigaloo. | 1:35:24 | 1:35:26 | |
Now, introduce the next set of clips for the ladies and gentlemen, | 1:35:26 | 1:35:30 | |
featuring bloopers in animated movies. | 1:35:30 | 1:35:32 | |
Great. So we're going to put the squirrel on after, yeah? | 1:35:36 | 1:35:39 | |
Otherwise, that's just me talking to a brick. | 1:35:39 | 1:35:42 | |
I might look a ninny. | 1:35:42 | 1:35:43 | |
OK. | 1:35:44 | 1:35:46 | |
Well, I'll trust you this time. | 1:35:46 | 1:35:48 | |
Wild West fun now. | 1:35:54 | 1:35:55 | |
When Rango drops his bullets, we see him reloading them | 1:35:57 | 1:36:00 | |
on the right side of his gun. | 1:36:00 | 1:36:04 | |
-However, the chamber is hanging on the left side. -Just a second. | 1:36:04 | 1:36:09 | |
Later on in the same scene, chameleons may be good at changing, | 1:36:12 | 1:36:16 | |
but some things shouldn't change. | 1:36:16 | 1:36:18 | |
Like here... | 1:36:18 | 1:36:20 | |
where the hawk is completely flattened to the ground... | 1:36:20 | 1:36:23 | |
..And now his feet poke up when they shouldn't be there. | 1:36:27 | 1:36:30 | |
More Rango, and this car crash has a traumatic effect | 1:36:32 | 1:36:36 | |
on the doll he shares a tank with. | 1:36:36 | 1:36:38 | |
Here she has a right arm. | 1:36:38 | 1:36:40 | |
But after this crash, it's now a left arm. | 1:36:47 | 1:36:49 | |
At the end of the day, I suppose it's just an "armless" bit of fun. | 1:36:51 | 1:36:55 | |
Some pig ignorance from the animators of Shrek. | 1:36:59 | 1:37:02 | |
Yes, he's back and he seems to be over the moon to be scaring everyone again. | 1:37:02 | 1:37:07 | |
Look how he scares those pigs. | 1:37:08 | 1:37:11 | |
He must have really scared them because as we zoom out, | 1:37:11 | 1:37:14 | |
they're nowhere to be seen. | 1:37:14 | 1:37:16 | |
Another Shrek mistake. | 1:37:21 | 1:37:23 | |
Yes, indeed, keep your eye on the letter F on the hanky | 1:37:23 | 1:37:27 | |
that Shrek picks up. | 1:37:27 | 1:37:28 | |
One minute it's there... | 1:37:33 | 1:37:35 | |
..then it's over there on completely the other side. | 1:37:37 | 1:37:41 | |
Get it right, for F's sake. | 1:37:41 | 1:37:43 | |
Disney's back on form now, even if the film-makers | 1:37:45 | 1:37:48 | |
get just as tangled as their characters in Tangled. | 1:37:48 | 1:37:52 | |
Flynn Ryder struggles onto his side as he's tied to the chair. | 1:37:52 | 1:37:55 | |
No can do. | 1:37:55 | 1:37:56 | |
However, next time he's pulled into shot, he's on his back again. | 1:37:59 | 1:38:03 | |
-Hairy stuff, I think you'll agree. -A horse? | 1:38:03 | 1:38:06 | |
Zoology now, and here's the colourful Rio, | 1:38:08 | 1:38:11 | |
a film all about a macaw called Blu. | 1:38:11 | 1:38:13 | |
The perfect marshmallow-to-cocoa ratio. | 1:38:15 | 1:38:17 | |
But to macaws, cocoa is toxic. | 1:38:17 | 1:38:21 | |
Lucky this is an animation | 1:38:21 | 1:38:22 | |
or we really would've seen death by chocolate. | 1:38:22 | 1:38:26 | |
-Did it, boys. -We did it! | 1:38:29 | 1:38:31 | |
It takes one animator an entire week to do just four seconds of footage. | 1:38:31 | 1:38:35 | |
But when they animate the flaps on this plane going down, | 1:38:35 | 1:38:39 | |
rather than up, which would've sent the plane careering to the ground, | 1:38:39 | 1:38:42 | |
you wonder whether that particular week was well spent. | 1:38:42 | 1:38:46 | |
Classy sequel Toy Story 3, where Barbie removes two screws | 1:38:50 | 1:38:54 | |
that hold Buzz Lightyear's back compartment. | 1:38:54 | 1:38:57 | |
..show you no mercy. | 1:38:57 | 1:38:58 | |
Why's it not working? | 1:39:00 | 1:39:01 | |
However, at no point do they re-screw the compartment closed. | 1:39:01 | 1:39:05 | |
It just stays shut for the rest of the movie. | 1:39:05 | 1:39:07 | |
IN SPANISH: | 1:39:07 | 1:39:08 | |
No wonder he's acting like he's got a screw loose. | 1:39:08 | 1:39:11 | |
Toy Story 3 begins with Mr Potato Head having only one eye | 1:39:19 | 1:39:22 | |
so that Andy can pretend he's wearing an eye patch. | 1:39:22 | 1:39:26 | |
But keep your eyes peeled on Mr Potato's eyes, | 1:39:28 | 1:39:31 | |
because when Andy's "mom" films him, he's suddenly regained it. | 1:39:31 | 1:39:36 | |
Peeled, you get it? Like peeling a potato? | 1:39:36 | 1:39:38 | |
Right, please yourselves. | 1:39:38 | 1:39:40 | |
More films are made about cars than any other mode of transport. | 1:39:42 | 1:39:46 | |
I used to love cars so much that I'd ever only watch | 1:39:46 | 1:39:49 | |
the final third of Planes, Trains And Automobiles. | 1:39:49 | 1:39:51 | |
But these days, I'm much more environmentally minded | 1:39:51 | 1:39:54 | |
and I think Hollywood should follow suit. | 1:39:54 | 1:39:56 | |
In The Italian Job, instead of Mini Coopers, | 1:39:56 | 1:39:59 | |
they should have foldaway bikes. | 1:39:59 | 1:40:00 | |
And I want to see The Fast And The Furious on Segways. | 1:40:00 | 1:40:03 | |
That said, would Ryan Gosling have looked as cool if, | 1:40:03 | 1:40:06 | |
instead of Drive, the film had been called Walk? | 1:40:06 | 1:40:10 | |
Insightful teen fun in Easy A, and Todd is driving Olive home. | 1:40:14 | 1:40:19 | |
But when we catch a glimpse of the speedometer, | 1:40:19 | 1:40:21 | |
we see that they're travelling at 0mph. | 1:40:21 | 1:40:25 | |
Something must be wrong with your car, mate. | 1:40:25 | 1:40:28 | |
Easy A? Better call the Easy AA, hmm?! Huh?! | 1:40:28 | 1:40:31 | |
In the straightforward Just Go With It, Jennifer Aniston | 1:40:33 | 1:40:37 | |
perfectly parks, silencing any chauvinists. | 1:40:37 | 1:40:40 | |
D'oh. Wait a minute. | 1:40:40 | 1:40:42 | |
What is that? | 1:40:42 | 1:40:43 | |
Turns out she's gone all over the lines. Birds, eh? | 1:40:43 | 1:40:47 | |
What? | 1:40:47 | 1:40:48 | |
The slow but thoughtful Rabbit Hole now, | 1:40:50 | 1:40:53 | |
and Nicole's not wearing a seatbelt. | 1:40:53 | 1:40:55 | |
-I don't want to move. -I don't want another baby. | 1:40:55 | 1:40:58 | |
CAR HORN BLARES | 1:40:58 | 1:41:00 | |
Luckily, a seatbelt appeared just in the nick of time. | 1:41:00 | 1:41:04 | |
A clunk-click clunker. | 1:41:04 | 1:41:06 | |
-What're you doing? -I just had to check the cake. | 1:41:06 | 1:41:09 | |
Matthew McConaughey's such a successful lawyer | 1:41:12 | 1:41:15 | |
in the thrilling drama The Lincoln lawyer, | 1:41:15 | 1:41:17 | |
that he's got a number plate that says NT GUILTY on it. Classy! | 1:41:17 | 1:41:23 | |
But in California, a licence plate can only have seven letters on it. | 1:41:23 | 1:41:27 | |
And NT GUILTY has eight. | 1:41:27 | 1:41:29 | |
Which makes it an illegal number plate, and very guilty indeed. | 1:41:29 | 1:41:34 | |
Oh, the irony! | 1:41:34 | 1:41:36 | |
He also has a chauffeur, which seems a bit poncey. | 1:41:38 | 1:41:41 | |
Surely he could drive himself? | 1:41:41 | 1:41:44 | |
Actually, the car can drive itself. | 1:41:44 | 1:41:46 | |
Yep, it was moving before he'd even started it. | 1:41:49 | 1:41:52 | |
Maybe his car is a distant cousin of Herbie. | 1:41:57 | 1:41:59 | |
When I heard that the downbeat drama Winter's Bone was a bit backward, | 1:42:01 | 1:42:07 | |
I thought that meant it was full of uneducated hillbilly types. | 1:42:07 | 1:42:11 | |
But no, it actually means it's backward, | 1:42:11 | 1:42:13 | |
as the reverse shot of this pick-up proves. | 1:42:13 | 1:42:17 | |
Warning - this vehicle is literally reversing. | 1:42:17 | 1:42:19 | |
Make sure your daddy knows the gravity of this deal. | 1:42:19 | 1:42:22 | |
In the unflinching crime movie, The Town, | 1:42:26 | 1:42:29 | |
the bank robbers are forced to drive around the block | 1:42:29 | 1:42:31 | |
as they wait for their plan to fall into place. | 1:42:31 | 1:42:34 | |
But the second time they drive up the same road, | 1:42:37 | 1:42:40 | |
all of the parked cars are different. | 1:42:40 | 1:42:43 | |
How long did it take them to drive around the block? | 1:42:43 | 1:42:46 | |
Mind you, you know how bad traffic can get in Town. | 1:42:46 | 1:42:49 | |
And now, more movie storyline flaws are reviewed and laid bare in... | 1:42:51 | 1:42:55 | |
In the hard-edged, pacy sci-fi thriller, District 9, | 1:42:57 | 1:42:59 | |
crashed ali-ons are stranded in Johannesburg and are forced | 1:42:59 | 1:43:03 | |
to live as second-class citizens in a ghetto | 1:43:03 | 1:43:05 | |
policed by a big corporation and Nigerian gangsters who sell them cat food | 1:43:05 | 1:43:09 | |
What everyone wants is the ali-ons' incredible superguns | 1:43:09 | 1:43:12 | |
that can fire pigs and that. | 1:43:12 | 1:43:14 | |
Hang on, incredible superguns? | 1:43:14 | 1:43:17 | |
Red alert, those with massively superior weaponry | 1:43:17 | 1:43:21 | |
don't tend to stay second-class citizens | 1:43:21 | 1:43:23 | |
for much longer than it takes them to get their massively superior weaponry out. | 1:43:23 | 1:43:28 | |
Tell you what, I'm getting a bit fed up with being oppressed. | 1:43:28 | 1:43:31 | |
Too right, I mean there's only so much of this us ali-ons can take. | 1:43:31 | 1:43:36 | |
You know, after 28 years of relentless abuse | 1:43:36 | 1:43:39 | |
and slum-dwelling, | 1:43:39 | 1:43:40 | |
I'm almost tempted to get the incredible superguns | 1:43:40 | 1:43:43 | |
that only us ali-ons can use, and show these humans who's boss. | 1:43:43 | 1:43:48 | |
On the other hand, cat food... | 1:43:52 | 1:43:54 | |
Yup, yup, the cat food is nice and even with our ali-on ability | 1:43:54 | 1:43:59 | |
to build superior weaponry and gigantic spacecraft | 1:43:59 | 1:44:02 | |
that can hover powerlessly in the sky for decades, | 1:44:02 | 1:44:04 | |
there's no guarantee that we'd be any good at making cat food. | 1:44:04 | 1:44:08 | |
Yes, might as well sit tight and wait for the white man | 1:44:08 | 1:44:11 | |
with the pretty arm to help us. | 1:44:11 | 1:44:14 | |
Yeah. | 1:44:14 | 1:44:15 | |
More Whiskas? | 1:44:16 | 1:44:18 | |
Technology plays an increasingly vital role in the movies. | 1:44:21 | 1:44:24 | |
Without mobile phones there'd be no Matrix, | 1:44:24 | 1:44:27 | |
without computers there'd be no Tron | 1:44:27 | 1:44:29 | |
and without the internet I wouldn't have illegally downloaded either of those. | 1:44:29 | 1:44:33 | |
That's a joke, I don't approve of law-breaking! | 1:44:33 | 1:44:36 | |
Phone, fax, Facebook, Google Plus, Twitter, iPhone, Blackberry, | 1:44:36 | 1:44:39 | |
email, instant messenger - | 1:44:39 | 1:44:40 | |
it's great to have so many different ways to find out that no-one wants to talk to you. | 1:44:40 | 1:44:45 | |
Despite there being a whole film about Facebook, | 1:44:45 | 1:44:47 | |
you don't see a lot of social networking sites in movies. | 1:44:47 | 1:44:50 | |
Harry is now 'friends' with Sally. | 1:44:50 | 1:44:52 | |
Mr and Mrs Smith went from 'married' to 'it's complicated'. | 1:44:52 | 1:44:55 | |
I suppose it's lucky really. | 1:44:55 | 1:44:57 | |
You don't want all your friends finding out you've been poked by Charlie Sheen. | 1:44:57 | 1:45:02 | |
A clip from Buried - the taut thriller about a man | 1:45:04 | 1:45:08 | |
buried alive with nothing but a mobile phone. | 1:45:08 | 1:45:11 | |
The scariest part is that he doesn't even know how to use his mobile... | 1:45:11 | 1:45:16 | |
See? It's upside down! | 1:45:16 | 1:45:19 | |
It's clearly been turning in his grave. | 1:45:19 | 1:45:21 | |
In sombre movie Hereafter, Marcus watches some YouTube clips. | 1:45:27 | 1:45:32 | |
But see the information under the person talking? | 1:45:32 | 1:45:36 | |
When he clicks on the second clip, | 1:45:36 | 1:45:38 | |
it has the exact same amount of views and information! | 1:45:38 | 1:45:41 | |
Perhaps it took 259,042 takes to do the scene? | 1:45:42 | 1:45:47 | |
If you believe in Christ you have nothing to fear. | 1:45:47 | 1:45:50 | |
Now the misfire that is Gulliver's Travels. | 1:45:53 | 1:45:57 | |
No signal, but I got 12 messages - Mr Popularity! | 1:45:57 | 1:46:01 | |
No signal? But you can't check messages without a signal. | 1:46:01 | 1:46:05 | |
I wonder if Jonathan Swift knew he'd made a massive error | 1:46:05 | 1:46:09 | |
when he wrote this in 1726? | 1:46:09 | 1:46:11 | |
Now it's the highly implausible film Unknown. | 1:46:15 | 1:46:17 | |
MOBILE BEEPS | 1:46:17 | 1:46:19 | |
In this clip, Liam Neeson gets a text from 2010, | 1:46:19 | 1:46:23 | |
even though the film is set in 2011. | 1:46:23 | 1:46:26 | |
I'd change your service provider if I were you, Liam. | 1:46:26 | 1:46:30 | |
Still on Unknown | 1:46:32 | 1:46:34 | |
and now Liam's wife is trying to get into a password-protected file. | 1:46:34 | 1:46:38 | |
She's figured out the password, clever lady, | 1:46:38 | 1:46:42 | |
but if she'd looked a little harder she'd have seen | 1:46:42 | 1:46:45 | |
that the password's accepted before she's typed it in! | 1:46:45 | 1:46:48 | |
I'm personally not going to accept this error... | 1:46:48 | 1:46:51 | |
Oh, go on then. | 1:46:53 | 1:46:54 | |
Creaky suspense from Scream 4 | 1:46:56 | 1:46:58 | |
where Neve Campbell is clearly told by Hayden Panettiere | 1:46:58 | 1:47:01 | |
that the landline's down and someone's smashed the router. | 1:47:01 | 1:47:04 | |
I tried to call 911 but the landline's dead and someone's smashed the router. | 1:47:04 | 1:47:08 | |
-I think I got through on my cell. -OK, where's Jill? | 1:47:08 | 1:47:10 | |
However, a bit later on, | 1:47:12 | 1:47:14 | |
when she whips out her phone, we see that the WiFi signal is on. | 1:47:14 | 1:47:18 | |
Perhaps someone was WiFired for that blunder? | 1:47:18 | 1:47:22 | |
Tell Sydney heads are going to roll tonight! | 1:47:22 | 1:47:24 | |
The laws of time are disregarded | 1:47:26 | 1:47:29 | |
in the high-octane but routine Unstoppable. | 1:47:29 | 1:47:32 | |
Here, Chris Pine has a picture of his beautiful wife on his phone. | 1:47:32 | 1:47:37 | |
Debt of gratitude, blah, blah, blah | 1:47:37 | 1:47:39 | |
But at the press conference at the end of the film, | 1:47:39 | 1:47:42 | |
we see a shot of his beautiful wife that's exactly the same picture. | 1:47:42 | 1:47:46 | |
See? Unstoppable? That's unacceptable. | 1:47:46 | 1:47:49 | |
Films get better with age, like so many things. | 1:47:51 | 1:47:55 | |
Wine, cheese, a good lover - | 1:47:55 | 1:47:57 | |
or at least that's what I tell my girlfriend. | 1:47:57 | 1:47:59 | |
She's 78 and needs a lot of confidence boosting, | 1:47:59 | 1:48:03 | |
so here are some slightly older clips | 1:48:03 | 1:48:05 | |
that we may have missed in the first two shows. | 1:48:05 | 1:48:07 | |
STATIC AND CLATTERING | 1:48:07 | 1:48:09 | |
Oh! She's had another fall. Excuse me! | 1:48:09 | 1:48:12 | |
Lovable musical Grease now, | 1:48:14 | 1:48:17 | |
and Vi demonstrates early voice control technology | 1:48:17 | 1:48:20 | |
as all it takes is for her to do a low grunt... | 1:48:20 | 1:48:23 | |
and the light goes out. | 1:48:23 | 1:48:26 | |
She certainly didn't flick the switch - look... | 1:48:26 | 1:48:29 | |
..her elbow is a good few inches away. | 1:48:31 | 1:48:34 | |
How's it done, Vi? | 1:48:34 | 1:48:35 | |
Enlighten us! | 1:48:35 | 1:48:37 | |
THEY ALL SING "SUMMER NIGHTS" | 1:48:39 | 1:48:43 | |
Ah, those crazy school days, when everyone could perform | 1:48:43 | 1:48:46 | |
a flawless, impromptu song-and-dance number! | 1:48:46 | 1:48:49 | |
Best years of my life! | 1:48:49 | 1:48:51 | |
Though Rizzo goes and ruins it by putting on some cool shades... | 1:48:51 | 1:48:56 | |
that instantly come off. | 1:48:56 | 1:48:58 | |
But it takes our eye off Travolta readjusting his tight trousers... | 1:49:00 | 1:49:03 | |
Oh, back on again. | 1:49:05 | 1:49:07 | |
Good diversion, Rizzo! | 1:49:07 | 1:49:09 | |
The colourful, camp classic The Wizard of Oz | 1:49:12 | 1:49:16 | |
and Dorothy's down the Yellow Brick Road in her iconic red shoes. | 1:49:16 | 1:49:20 | |
But she's a bit peckish... | 1:49:20 | 1:49:21 | |
The tree doesn't like this. | 1:49:21 | 1:49:24 | |
-Well, how would you like someone come and pinch something off of you? -Oh, dear! | 1:49:24 | 1:49:28 | |
Well- we find out, as someone's had it away with Dorothy's lovely shoes | 1:49:28 | 1:49:31 | |
and replaced them with dreary old dance shoes. | 1:49:31 | 1:49:35 | |
Look! | 1:49:35 | 1:49:36 | |
Hooray! I guess that did it. Help yourself. | 1:49:40 | 1:49:44 | |
Now as Dorothy chases the Tin Man, | 1:49:46 | 1:49:49 | |
see how the very important can of oil falls out of her basket. | 1:49:49 | 1:49:53 | |
Here it is! | 1:49:57 | 1:49:59 | |
Luckily with oil prices as they are, | 1:50:01 | 1:50:03 | |
it reappears intact so Tin Man can sort out his arthritic joints. | 1:50:03 | 1:50:07 | |
That was wonderful. | 1:50:07 | 1:50:09 | |
Well, OIL be damned! | 1:50:09 | 1:50:11 | |
The original and best Superman movie now, | 1:50:14 | 1:50:17 | |
and while you may believe a man can fly, he can also walk through glass. | 1:50:17 | 1:50:23 | |
Here, he's in a different door partition to Lois, | 1:50:23 | 1:50:26 | |
but when they come out, they leave from the same partition. | 1:50:26 | 1:50:31 | |
Also - rewind that... | 1:50:31 | 1:50:33 | |
Yep, a clear reflection of the camera man. | 1:50:37 | 1:50:39 | |
Now I'll believe a man can spy. | 1:50:41 | 1:50:44 | |
Clark Kent is ever the polite gentleman, even when knocked out. | 1:50:48 | 1:50:53 | |
Did you see that? | 1:50:53 | 1:50:55 | |
See? He doffs his hat to his mugger as he runs away. | 1:50:57 | 1:51:01 | |
The final word in romantic comedies is Pretty Woman, | 1:51:05 | 1:51:09 | |
but I wish Julia Roberts would sort her manners out - | 1:51:09 | 1:51:13 | |
look she's talking through a mouthful of croissant... | 1:51:13 | 1:51:16 | |
How far did you go in school? | 1:51:16 | 1:51:19 | |
Even more impolitely, she then changes it to a pancake! | 1:51:19 | 1:51:22 | |
Your folks must be proud. | 1:51:24 | 1:51:25 | |
And then takes a second bite out... | 1:51:25 | 1:51:27 | |
..which goes back on the pancake afterwards. | 1:51:29 | 1:51:32 | |
Disgraceful. | 1:51:32 | 1:51:34 | |
Ah, the epic and magical Sound of Music, | 1:51:38 | 1:51:40 | |
and look at the lovely scenery. | 1:51:40 | 1:51:43 | |
On such a beautiful, clear and sunny day | 1:51:43 | 1:51:45 | |
wouldn't you want to climb up an Alpine hillside, | 1:51:45 | 1:51:48 | |
take a deep breath of fresh air and just sing your guts out? | 1:51:48 | 1:51:52 | |
Come on, Julie, give us a burst! | 1:51:53 | 1:51:56 | |
Oh, it's suddenly gone all dull and cloudy. | 1:51:56 | 1:51:59 | |
I'd go back in, love. Film's over, everyone! | 1:51:59 | 1:52:03 | |
Out of all last year's films, | 1:52:05 | 1:52:07 | |
we think this next film had the moist mistakes. | 1:52:07 | 1:52:09 | |
Did I say moist? | 1:52:09 | 1:52:11 | |
Out of all of last year's films, | 1:52:11 | 1:52:12 | |
we think this next mistake had the most mistakes... | 1:52:12 | 1:52:16 | |
Out of all of last year's films, we think this nest film... | 1:52:16 | 1:52:20 | |
Nest? | 1:52:20 | 1:52:21 | |
Out of all the films, | 1:52:21 | 1:52:23 | |
we think this next one had the most mistakes, of last year. | 1:52:23 | 1:52:28 | |
Out of all of last year's mistakes, this was the most. | 1:52:28 | 1:52:31 | |
Out of all of last year's films, | 1:52:31 | 1:52:34 | |
we think this next film had the most mistakes YES! | 1:52:34 | 1:52:37 | |
Sorry, without the yes. | 1:52:37 | 1:52:38 | |
And the film we found the most mistakes in this year | 1:52:40 | 1:52:43 | |
was the very underwhelming and disappointing | 1:52:43 | 1:52:45 | |
The Green Hornet remake. | 1:52:45 | 1:52:47 | |
Let's count them up! | 1:52:47 | 1:52:48 | |
Good morning. | 1:52:48 | 1:52:50 | |
Keep staring at the attractive lady lying in the bed, | 1:52:50 | 1:52:53 | |
as one minute she's all covered up, | 1:52:53 | 1:52:56 | |
then the duvet comes down and we see her bra! | 1:52:56 | 1:52:59 | |
Then it goes up... | 1:52:59 | 1:53:01 | |
and down | 1:53:01 | 1:53:02 | |
and up and down for the rest of the scene. | 1:53:02 | 1:53:07 | |
Of course, I watched this clip several times | 1:53:07 | 1:53:09 | |
just to be sure of the mistake. | 1:53:09 | 1:53:11 | |
Two mistakes for the price of one in this car chase. | 1:53:14 | 1:53:18 | |
The offside headlight gets knocked out by The Hornet's car... | 1:53:18 | 1:53:22 | |
Oh, no. | 1:53:24 | 1:53:26 | |
..but as the car flips over, it's all fixed again! | 1:53:26 | 1:53:29 | |
Then the car careers forwards, | 1:53:31 | 1:53:34 | |
but slams through the window backwards. | 1:53:34 | 1:53:36 | |
Proof indeed that two wrongs don't make a right... | 1:53:36 | 1:53:40 | |
They make a right clanger. | 1:53:40 | 1:53:42 | |
This is the greatest moment of my life. | 1:53:42 | 1:53:44 | |
She's completely un-nailable. | 1:53:46 | 1:53:47 | |
It's a terrible fact, I don't know what to do. | 1:53:47 | 1:53:49 | |
In this clip, Kato drives very straight | 1:53:49 | 1:53:52 | |
down a very straight road, but look how erratically he steers! | 1:53:52 | 1:53:56 | |
This film's proving to have more gaffs than a dodgy council estate... | 1:53:56 | 1:54:00 | |
And here's three more whoppers. | 1:54:03 | 1:54:06 | |
Watch this weapon as it disappears quicker than director | 1:54:06 | 1:54:09 | |
Michel Gondry's credibility. | 1:54:09 | 1:54:11 | |
Ta-da! | 1:54:12 | 1:54:14 | |
But now just watch Mr Beach Ball sat proudly on his chair. | 1:54:20 | 1:54:24 | |
Ooh, now he's off... | 1:54:24 | 1:54:27 | |
Maybe he's trying to escape from this movie, I wouldn't blame him. | 1:54:27 | 1:54:31 | |
I mean, he may have a better offer. | 1:54:31 | 1:54:33 | |
There's probably a volleyball tournament he could be starring in. | 1:54:33 | 1:54:36 | |
That would be nice. | 1:54:36 | 1:54:39 | |
Oh, no, now he's back. | 1:54:39 | 1:54:41 | |
Mr Beach Ball, I'd have a word with your agent. | 1:54:41 | 1:54:44 | |
You're better than this. | 1:54:44 | 1:54:46 | |
Get off my property! | 1:54:46 | 1:54:47 | |
In this scene, look at the tree in the background. | 1:54:51 | 1:54:54 | |
What are you doing up here? All the guys are waiting. | 1:54:54 | 1:54:57 | |
Popeye walks far past it... and now he's right next to it. | 1:54:57 | 1:55:02 | |
Maybe Mr Tree's after more screen time? | 1:55:02 | 1:55:04 | |
We'll never know. | 1:55:04 | 1:55:06 | |
Last one. | 1:55:08 | 1:55:09 | |
The gas mask is clearly on Chudnofsky's forehead | 1:55:09 | 1:55:12 | |
as he fights Kato. | 1:55:12 | 1:55:14 | |
..or be it your blood, red will be the last colour... | 1:55:14 | 1:55:17 | |
Then, suddenly, it's entirely on his face... | 1:55:22 | 1:55:26 | |
I'd keep it on if I were you. | 1:55:27 | 1:55:30 | |
With nine solid goofs, this film's a bit of a stinker. | 1:55:30 | 1:55:33 | |
Well, that's all the time we have left for Great Movie Mistakes Three. | 1:55:35 | 1:55:39 | |
All that remains is for us to show you | 1:55:39 | 1:55:42 | |
some of the mistakes that we've spotted in our own show. | 1:55:42 | 1:55:44 | |
For example: | 1:55:44 | 1:55:45 | |
Technology plays an increasingly vital role in the movies... | 1:55:45 | 1:55:49 | |
'Did you notice that in this clip | 1:55:49 | 1:55:51 | |
'there was a silver warrior robot in shot?' | 1:55:51 | 1:55:54 | |
I always say the key to a successful double act... | 1:55:57 | 1:56:00 | |
'This link looks fairly uneventful | 1:56:00 | 1:56:02 | |
'but let's see that again.' | 1:56:02 | 1:56:04 | |
I always say, the key to having a successful double act... | 1:56:06 | 1:56:09 | |
'You can clearly see they've used a stunt Robert for this scene.' | 1:56:09 | 1:56:13 | |
But the worst mistake of the show has to be | 1:56:13 | 1:56:16 | |
forgetting to write a proper ending. | 1:56:16 | 1:56:18 | |
So, um, bye, I guess. | 1:56:18 | 1:56:23 | |
That's it. | 1:56:23 | 1:56:24 | |
But stick around, there's probably some show about pregnant teens next. | 1:56:24 | 1:56:28 | |
Subtitles by Red Bee Media | 1:56:46 | 1:56:49 | |
Email [email protected] | 1:56:49 | 1:56:52 |