Browse content similar to Episode 1. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
I mean, do what you like. I'm not your mum. | 0:00:10 | 0:00:13 | |
Hello, and welcome to Movie Mistakes 2 - The Sequel. | 0:00:37 | 0:00:41 | |
Like any sequel, we're bigger, louder, | 0:00:41 | 0:00:43 | |
and most snobs are going to say, not as good as the first one. | 0:00:43 | 0:00:47 | |
Well, that's not true, because our crack team of celluloid super-geeks | 0:00:47 | 0:00:50 | |
have outdone themselves, by trawling this year's top movies, | 0:00:50 | 0:00:54 | |
alongside some revered classics, | 0:00:54 | 0:00:56 | |
to compile a brand-new collection of cinematic clunkers. | 0:00:56 | 0:00:59 | |
Oh, and apparently, in order to compete with the latest movie fad, | 0:00:59 | 0:01:03 | |
we've got to do something 3D, so please put on your 3D glasses now | 0:01:03 | 0:01:07 | |
and prepare to get your mind blown. | 0:01:07 | 0:01:10 | |
OK, ready? | 0:01:10 | 0:01:11 | |
Whoo! Whoo! Oh! Whoo! | 0:01:11 | 0:01:13 | |
There. Take that, Avatar. | 0:01:16 | 0:01:19 | |
Now you can take your 3D glasses off, cos you look ridiculous. Oh. | 0:01:19 | 0:01:23 | |
Right, let's get on with it. | 0:01:23 | 0:01:25 | |
On tonight's show... | 0:01:25 | 0:01:27 | |
It's always reassuring to see that even the rich and powerful Hollywood gods | 0:01:36 | 0:01:40 | |
make mistakes, like us mere mortals. | 0:01:40 | 0:01:42 | |
It's even more reassuring that they're on film, so we can point them out and laugh at them. | 0:01:42 | 0:01:47 | |
Ha-ha! In your face, Hollywood! That said, if there are any powerful directors watching, | 0:01:47 | 0:01:52 | |
I am available for work. | 0:01:52 | 0:01:53 | |
The new Karate Kid, and here's Jaden Smith off to China | 0:01:55 | 0:02:00 | |
on plane number B-2460. | 0:02:00 | 0:02:02 | |
Only thing is, the plane that lands is B-2443. | 0:02:07 | 0:02:11 | |
You may be the son of a superstar, Smith, but that's "plane" wrong. | 0:02:11 | 0:02:14 | |
He-he! "Plane wrong"! | 0:02:14 | 0:02:16 | |
The film is all about a young American boy | 0:02:19 | 0:02:21 | |
learning the basics of martial arts - control, | 0:02:21 | 0:02:24 | |
standing on one leg up a mountain, | 0:02:24 | 0:02:27 | |
teasing deadly snakes. | 0:02:27 | 0:02:29 | |
But can you spot this kung-fu clanger? | 0:02:29 | 0:02:32 | |
Notice there are four bars on the outside of this window. | 0:02:32 | 0:02:36 | |
Now wait for it... | 0:02:36 | 0:02:39 | |
Ooh, here comes Jackie Chan. | 0:02:39 | 0:02:40 | |
He's spotted the problem. | 0:02:40 | 0:02:43 | |
Yep, on the inside, there are eight bars. | 0:02:43 | 0:02:46 | |
Appalling. | 0:02:46 | 0:02:47 | |
# ..Instead of daisies | 0:02:50 | 0:02:52 | |
# I don't know, though | 0:02:52 | 0:02:54 | |
# What do you think? # | 0:02:54 | 0:02:56 | |
Now to the macabre musical, Sweeney Todd. | 0:02:56 | 0:03:00 | |
Tim Burton is truly the master of atmosphere. | 0:03:00 | 0:03:03 | |
Everything looks atmospheric...even that modern plastic water bottle. | 0:03:03 | 0:03:07 | |
-Still, at least Johnny Depp isn't singing. -I'm sorry. Excuse me. | 0:03:07 | 0:03:11 | |
-# She was beautiful... # -Ah, here's Johnny Depp singing. | 0:03:13 | 0:03:17 | |
# Foolish barber and his wife | 0:03:17 | 0:03:19 | |
# She was his reason and his life And she was beautiful... # | 0:03:19 | 0:03:25 | |
But we're interested in this baby's bottom, | 0:03:25 | 0:03:27 | |
because it's covered in a 21st-century disposable nappy. | 0:03:27 | 0:03:31 | |
Now, that's a bum note. | 0:03:31 | 0:03:33 | |
Legally Blonde 2 and a sped-up sunrise. | 0:03:39 | 0:03:41 | |
That's all good and fine, but when we go back to real time, | 0:03:41 | 0:03:45 | |
the sun's reflection is still speeded up in the window. | 0:03:45 | 0:03:47 | |
-Time to legislate! -How does that work? | 0:03:47 | 0:03:50 | |
Hm? Eh? Heh? Uh? | 0:03:50 | 0:03:51 | |
The unconscious Argentinian suffered from a sickness called narcolepsy. | 0:03:53 | 0:03:57 | |
Perfectly fine one moment, then suddenly, unconscious the next. | 0:03:57 | 0:03:59 | |
It's Moulin Rouge now. Director Baz Luhrmann uses the old trick | 0:03:59 | 0:04:02 | |
of making an actor kneel on some shoes to make him look really short. | 0:04:02 | 0:04:06 | |
Unfortunately, it's not so good when filmed from above - | 0:04:06 | 0:04:10 | |
fake shoes on knees and real feet. | 0:04:10 | 0:04:13 | |
Right, Toulouse, I still have to finish the music. | 0:04:13 | 0:04:15 | |
Here's that same short character, | 0:04:17 | 0:04:19 | |
Toulouse-Lautrec, in a musical number. | 0:04:19 | 0:04:22 | |
Nice bit of fairy work from Kylie. | 0:04:25 | 0:04:28 | |
We were off to the Moulin Rouge. | 0:04:28 | 0:04:30 | |
By this point, they'd given up on the kneeling thing. | 0:04:30 | 0:04:33 | |
Now he's got knee pads on and he's just standing in a hole. | 0:04:33 | 0:04:36 | |
For Satine! | 0:04:36 | 0:04:39 | |
Yeah! | 0:04:39 | 0:04:41 | |
The thought-provoking film Crash asks a lot of questions, such as | 0:04:47 | 0:04:51 | |
how do you turn off a light without actually touching the switch? | 0:04:51 | 0:04:54 | |
Let's see that again. | 0:04:58 | 0:05:00 | |
Nope, still don't know how that's done. | 0:05:04 | 0:05:06 | |
Yeah, I ordered. | 0:05:08 | 0:05:09 | |
Here's movie hunk Robert Pattinson | 0:05:09 | 0:05:11 | |
showing us a fabulous magic trick with his cup of coffee. | 0:05:11 | 0:05:15 | |
First adds some sugar, then stirs it. | 0:05:15 | 0:05:18 | |
We throw in make-up, toiletries, cell-phone chargers... | 0:05:18 | 0:05:22 | |
And now it's a cigarette. Ta-da! | 0:05:22 | 0:05:23 | |
-And it's vanished again. -Then we do an infomercial. | 0:05:23 | 0:05:26 | |
And it's back again! Ta-da! | 0:05:26 | 0:05:28 | |
Provide us with actual money? | 0:05:28 | 0:05:31 | |
He goes to light it... | 0:05:31 | 0:05:33 | |
and for the big finale... | 0:05:33 | 0:05:35 | |
it's a coffee cup again! | 0:05:35 | 0:05:37 | |
Made more sense when he was a rubbish vampire. | 0:05:37 | 0:05:40 | |
Next, we come to another classic movie mistake - crew in shot. | 0:05:42 | 0:05:46 | |
I once saw a classic example of crew in shot. | 0:05:46 | 0:05:48 | |
That's because the film was shot in the Cheshire town of Crewe. | 0:05:48 | 0:05:52 | |
But seriously! I'm talking about when the film crew end up on screen, | 0:05:52 | 0:05:56 | |
which is ridiculous, because they're not as important as us actors. | 0:05:56 | 0:06:01 | |
OK, OK, I'm sorry, they're just as important. | 0:06:01 | 0:06:06 | |
No, they're not. Roll VT. | 0:06:06 | 0:06:07 | |
Here's Cuba Gooding Jnr wondering what he's done to deserve a role | 0:06:09 | 0:06:13 | |
in cinematic turkey Pearl Harbor. | 0:06:13 | 0:06:16 | |
But keep your eyes on the left of the screen. | 0:06:16 | 0:06:18 | |
That's no navy crewman, that's a film crewman with a remote control for the camera. | 0:06:18 | 0:06:23 | |
Martin Scorsese's masterpiece Taxi Driver, and it appears that | 0:06:30 | 0:06:34 | |
Travis Bickle has noticed something out of his window. | 0:06:34 | 0:06:36 | |
Maybe it's someone looking at him. He really hates people looking at him. | 0:06:36 | 0:06:40 | |
Hang on, who was that? Let's see that again. | 0:06:43 | 0:06:46 | |
It's the reflection of the cameraman and the guy pushing the dolly. | 0:06:47 | 0:06:51 | |
They really were looking at him. | 0:06:51 | 0:06:54 | |
They say that great art holds a mirror up to life. | 0:06:56 | 0:06:59 | |
-Hey, where do you want this? -Uh, in the bedroom. | 0:06:59 | 0:07:02 | |
But in the movie Ghost, they're holding up a mirror to the film crew. There they are. | 0:07:02 | 0:07:07 | |
OK, we'll let them off that one mistake. | 0:07:07 | 0:07:09 | |
-Hang on, there's a lighting stand in the shot, too. -Like it, huh? | 0:07:09 | 0:07:13 | |
Like? "Like" is hardly the word. | 0:07:13 | 0:07:15 | |
Oh, well, they're only human. | 0:07:15 | 0:07:17 | |
Apart from the ghost. He's a ghost. | 0:07:17 | 0:07:19 | |
Here's Surrogates. | 0:07:23 | 0:07:25 | |
In this film, everyone has a robotic copy of themselves. | 0:07:25 | 0:07:29 | |
So don't worry, all these people falling over are just robots. | 0:07:29 | 0:07:32 | |
All robots. | 0:07:32 | 0:07:34 | |
Apart from the film crew standing round the corner. | 0:07:34 | 0:07:37 | |
They're not robots. They're idiots. | 0:07:37 | 0:07:39 | |
Here's Steven Spielberg's classic film Duel. | 0:07:44 | 0:07:47 | |
How do actors know when to start acting? | 0:07:47 | 0:07:50 | |
It's when Steven tells them to. | 0:07:50 | 0:07:52 | |
Watch his hand in the corner. | 0:07:52 | 0:07:54 | |
And action! Let's see that again in slow motion. | 0:07:54 | 0:07:57 | |
Ac-tion... | 0:07:59 | 0:08:01 | |
Alfred Hitchcock used to have cameos in his films, | 0:08:03 | 0:08:06 | |
so it's no surprise that Spielberg wanted to do the same. | 0:08:06 | 0:08:10 | |
Actually, he didn't want to - | 0:08:10 | 0:08:12 | |
he just stood right in front of the shiny, reflective phone booth. | 0:08:12 | 0:08:16 | |
Hi, Steve! | 0:08:16 | 0:08:18 | |
Now Ridley Scott's film American Gangster. | 0:08:20 | 0:08:23 | |
Ridley is famed for his hard work, so you can forgive him | 0:08:23 | 0:08:26 | |
putting his feet up and watching a bit of telly. | 0:08:26 | 0:08:29 | |
There he is. | 0:08:29 | 0:08:30 | |
And God bless the Unites States... | 0:08:35 | 0:08:36 | |
This is the Triple Rock Baptist Church | 0:08:36 | 0:08:39 | |
from the film The Blues Brothers, but even the frantic dancing | 0:08:39 | 0:08:42 | |
can't distract you from a crew member blatantly running through the back of shot. | 0:08:42 | 0:08:46 | |
Not so much Blues Brothers as "Where's the nearest loos, brothers?" | 0:08:46 | 0:08:50 | |
I just thought of that myself. | 0:08:50 | 0:08:52 | |
-# So exciting, the audience will... # -Baz Luhrmann captured the look, | 0:08:55 | 0:08:58 | |
the feel and the spirit of a 1900s Parisian cabaret in Moulin Rouge. | 0:08:58 | 0:09:03 | |
He also managed to capture a stage hand wearing | 0:09:06 | 0:09:08 | |
a baseball cap and wristwatch, swinging this actor back and forth. | 0:09:08 | 0:09:13 | |
Hey, Mum, I told you I'd make it in showbiz! | 0:09:13 | 0:09:16 | |
Finally, it's Charlie And The Chocolate Factory. | 0:09:18 | 0:09:21 | |
You know, they're always telling you what to do, what not to do, | 0:09:21 | 0:09:23 | |
and it's not conducive to a creative atmosphere. | 0:09:23 | 0:09:25 | |
The great thing about a remake | 0:09:25 | 0:09:27 | |
is that you can use technological advances to eliminate all mistakes. | 0:09:27 | 0:09:31 | |
Or you can just lob some whopping great glasses on Johnny Depp | 0:09:31 | 0:09:34 | |
and see a camera in the reflection. Either's good. | 0:09:34 | 0:09:37 | |
If you don't believe me, you should ask. | 0:09:37 | 0:09:39 | |
I've always found it easy to tell my left from my right | 0:09:41 | 0:09:44 | |
by using the simple system of not being an idiot. | 0:09:44 | 0:09:47 | |
But movie makers seem to mix them up all the time. | 0:09:47 | 0:09:50 | |
It's not just stupid, it's dangerous, too. | 0:09:50 | 0:09:53 | |
I found this out the hard way during a particularly aggressive round of the hokey-cokey, | 0:09:53 | 0:09:58 | |
when I put my left foot in to the face of my ten-year-old niece. | 0:09:58 | 0:10:01 | |
I cross my heart you'll never catch me making that sort of mistake again. | 0:10:01 | 0:10:06 | |
Holly. Holly. | 0:10:08 | 0:10:11 | |
Holly. | 0:10:13 | 0:10:14 | |
Yes! Holly! | 0:10:14 | 0:10:16 | |
First up, we have Land Of The Lost, a comedy about a little hairy man | 0:10:16 | 0:10:20 | |
who touches people inappropriately. | 0:10:20 | 0:10:22 | |
Anyway, watch the hand, not the boob. | 0:10:22 | 0:10:26 | |
-Chaka. -Chaka? | 0:10:26 | 0:10:28 | |
The left hand on Anna Friel, and now it's suddenly the right hand. | 0:10:28 | 0:10:32 | |
Clever monkey. | 0:10:32 | 0:10:34 | |
Wi-ill. Will. | 0:10:34 | 0:10:37 | |
Val Kilmer now, an actor so mesmerising | 0:10:39 | 0:10:42 | |
he can make you forget which side is which. | 0:10:42 | 0:10:44 | |
It's not a long shot. Harry, you're not listening to me! | 0:10:44 | 0:10:47 | |
-Harry? Harry! -What? | 0:10:47 | 0:10:48 | |
The left hand on Robert Downey's mouth...and now it's the right. | 0:10:48 | 0:10:52 | |
That's some seriously powerful acting. | 0:10:52 | 0:10:55 | |
Next up, it's horror classic Silence Of The Lambs, | 0:10:57 | 0:11:01 | |
and take a look at this door. | 0:11:01 | 0:11:03 | |
The handle's on the right. Right? | 0:11:03 | 0:11:06 | |
This film makes everything unsettling, | 0:11:10 | 0:11:12 | |
even changing which side the door opens on. | 0:11:12 | 0:11:15 | |
Creepy! Boo! | 0:11:19 | 0:11:21 | |
Ah, The Hangover. | 0:11:23 | 0:11:25 | |
We've all been there. | 0:11:25 | 0:11:27 | |
A big, crazy night out and you don't know what you're doing... | 0:11:27 | 0:11:30 | |
..and I happen to find 80,000 worth of Bellagio... | 0:11:31 | 0:11:34 | |
You hold something in your right hand, | 0:11:34 | 0:11:37 | |
and suddenly it's in your left. | 0:11:37 | 0:11:38 | |
Whoo, yeah, we're...American! | 0:11:40 | 0:11:43 | |
Here's everyone's second-favourite magical babysitter, Nanny McPhee. | 0:11:45 | 0:11:49 | |
Oh, look, she's making statues come to life. | 0:11:51 | 0:11:55 | |
Not as impressive, though, as making the sidecar | 0:11:55 | 0:11:57 | |
go from the left of the bike to the right. | 0:11:57 | 0:12:01 | |
See? Even the lion's disgusted at this movie mistake. | 0:12:01 | 0:12:05 | |
Sean Penn now in this Oscar-winning performance as Harvey Milk. | 0:12:07 | 0:12:11 | |
A powder-blue pen to sign the city's first gay-rights law. | 0:12:11 | 0:12:15 | |
But don't watch that Penn, watch this one. | 0:12:15 | 0:12:19 | |
The suity bloke holds it in his left hand... | 0:12:19 | 0:12:21 | |
..substantive move for civil rights. | 0:12:21 | 0:12:24 | |
..but he signs with his right hand. | 0:12:24 | 0:12:27 | |
Right old load of old nonsense, more like. | 0:12:27 | 0:12:30 | |
Here are the two stars of Fired Up - I can't recall their names - | 0:12:32 | 0:12:36 | |
presumably running away from a massive horde of fans. | 0:12:36 | 0:12:39 | |
When they jump over the wall, blondie is on the right. | 0:12:39 | 0:12:43 | |
But in the water, they switch places, and he's now on the left, | 0:12:43 | 0:12:47 | |
echoing my thoughts when I watched Fired Up. | 0:12:47 | 0:12:49 | |
I wanted to swap places with someone not watching Fired Up. | 0:12:49 | 0:12:54 | |
-Hey. I'm Nick. -Shawn. -Can we use your pool? | 0:12:54 | 0:12:58 | |
Finally, a clip from the movie Very Bad Things, starring Cameron Diaz. | 0:13:00 | 0:13:04 | |
Cameron's no stranger to very bad things herself. | 0:13:04 | 0:13:08 | |
In this scene, she's just read the script | 0:13:08 | 0:13:10 | |
for Charlie's Angels 2: Full Throttle. | 0:13:10 | 0:13:12 | |
But keep an eye on the spray and the brush. | 0:13:12 | 0:13:15 | |
As they fade from a crane shot to a helicopter shot, | 0:13:15 | 0:13:18 | |
they've suddenly switched. | 0:13:18 | 0:13:20 | |
Well done, Cameron, you've been upstaged by cleaning products. | 0:13:20 | 0:13:24 | |
I love superheroes. | 0:13:26 | 0:13:28 | |
Not normal, real-life heroes - you know, "Ooh, look at me, I saved a child from a burning building." | 0:13:28 | 0:13:33 | |
Big deal. Learn to fly, then I'll be interested. | 0:13:33 | 0:13:36 | |
I've always wanted to be a superhero, Web Man, who fires webs | 0:13:36 | 0:13:41 | |
out of his wrists and uses them to swing from building to building. I can't believe no-one's done that. | 0:13:41 | 0:13:45 | |
I think my favourite, though, must be Christian Bale in The Dark Knight. | 0:13:45 | 0:13:49 | |
His main enemy is actually another superhero - not Superman or Spider-Man, but Lighting Man. | 0:13:49 | 0:13:55 | |
"Ooh, I'm doing a scene here, and this guys walks right through my set with his lights. Ner ner ner! | 0:13:55 | 0:14:00 | |
"I'm all distracted." Tch! Superheroes! | 0:14:00 | 0:14:04 | |
Here's everyone's least favourite Superman, Brandon Routh, | 0:14:08 | 0:14:12 | |
showing off in front of a crowd of people. | 0:14:12 | 0:14:15 | |
Keep an eye on that pristine taxi on the ground. | 0:14:15 | 0:14:18 | |
As soon as Superman gets anywhere near it, it's all smashed up. | 0:14:25 | 0:14:28 | |
Oh, well, at least no harm will come to any more cars. | 0:14:28 | 0:14:32 | |
Ah. | 0:14:32 | 0:14:34 | |
A baseball game now, but what's that? | 0:14:36 | 0:14:39 | |
Is it a bird? Is it a plane? Yeah, it's a plane. Well done. | 0:14:43 | 0:14:47 | |
But where have all the baseball players gone? | 0:14:47 | 0:14:50 | |
Ah, there they are. | 0:14:50 | 0:14:53 | |
No, they're all gone again. | 0:14:53 | 0:14:54 | |
Y'know, there's really nothing super about that at all. | 0:14:54 | 0:14:58 | |
Put the plane down and sort out your movie. | 0:14:58 | 0:15:01 | |
Next up, it's Catwoman and Batman | 0:15:03 | 0:15:05 | |
going at it like cats and, er, bats on this rooftop. | 0:15:05 | 0:15:09 | |
The reassuring thing about this scene is that if there's a fire, | 0:15:09 | 0:15:12 | |
they can use the fire-escape ladder to climb down to safety. | 0:15:12 | 0:15:16 | |
But holy changeroonies, Batman, where's the ladder gone? | 0:15:16 | 0:15:21 | |
-Get up, man. -How could you? I'm a woman! | 0:15:21 | 0:15:24 | |
Catwoman's back home, still upset about the last continuity error. | 0:15:27 | 0:15:31 | |
You may have already noticed | 0:15:31 | 0:15:33 | |
there's no frying pan on the stove there. | 0:15:33 | 0:15:35 | |
Ooh, you know that frying pan that wasn't there a minute ago? | 0:15:42 | 0:15:46 | |
Now it is. | 0:15:46 | 0:15:48 | |
Me-ow! | 0:15:48 | 0:15:51 | |
Batman Begins now, and keep an eye on the walking stick | 0:15:53 | 0:15:56 | |
over baddie Liam Neeson's shoulder. | 0:15:56 | 0:15:58 | |
Now you see it, now you don't. | 0:15:58 | 0:16:00 | |
That's ninja skills, that is. | 0:16:00 | 0:16:02 | |
You simply walk up behind them and stab them in the heart. | 0:16:04 | 0:16:07 | |
Quick, watch Bruce Wayne make this man vanish. | 0:16:07 | 0:16:10 | |
Smash! And he's gone. | 0:16:10 | 0:16:12 | |
Disappeared. Incredible. | 0:16:12 | 0:16:13 | |
I am going to stop you. | 0:16:13 | 0:16:16 | |
Here's the pivotal moment when Peter Parker is bitten | 0:16:21 | 0:16:24 | |
by a genetically modified spider, turning him into Spider-Man. | 0:16:24 | 0:16:27 | |
I'm surprised his Spidey senses aren't tingling | 0:16:27 | 0:16:30 | |
to tell him that he's being watched - | 0:16:30 | 0:16:32 | |
by a member of the film crew reflected in this TV screen. | 0:16:32 | 0:16:35 | |
There he is. | 0:16:35 | 0:16:37 | |
If you're watching, why didn't you swat that spider, mate? Honestly! | 0:16:37 | 0:16:42 | |
Look! | 0:16:44 | 0:16:45 | |
In this clip, the villain isn't the Sandman but the Child Catcher, | 0:16:45 | 0:16:49 | |
by the look of things. Keep an eye on this fireman. | 0:16:49 | 0:16:51 | |
He picks up a small boy. | 0:16:51 | 0:16:53 | |
And he picks up a small boy. | 0:17:00 | 0:17:02 | |
And then he picks up a small boy. | 0:17:05 | 0:17:08 | |
Never mind Spider-Man, someone call social services! | 0:17:10 | 0:17:13 | |
I'm such a huge fan of yours. I didn't want to... | 0:17:15 | 0:17:18 | |
Here's a clip from Iron Man 2, | 0:17:18 | 0:17:20 | |
starring veteran actor Mickey Rourke. | 0:17:20 | 0:17:22 | |
Notice there's no toothpick in his mouth. | 0:17:22 | 0:17:26 | |
I only mention it because Rourke is renowned for his legendary toothpick work. | 0:17:26 | 0:17:30 | |
Oui, oui. I'm fine. | 0:17:30 | 0:17:33 | |
No toothpick. | 0:17:34 | 0:17:36 | |
And there's the toothpick, out of nowhere! | 0:17:36 | 0:17:39 | |
Please sit. | 0:17:39 | 0:17:40 | |
If only he'd been that picky about some of his movie roles. | 0:17:40 | 0:17:42 | |
Here's the Iron Man himself, Tony Stark, opening the Stark Expo. | 0:17:44 | 0:17:50 | |
Notice how he's dressed for the occasion, | 0:17:50 | 0:17:52 | |
complete with a white shirt and bow tie. | 0:17:52 | 0:17:54 | |
Please welcome my father Howard. | 0:17:54 | 0:17:56 | |
Everything is achievable through technology. | 0:17:58 | 0:18:02 | |
Well, he doesn't leave the stage during the presentation, | 0:18:02 | 0:18:04 | |
but before you can say "Robert Downey Jnr", here he is wearing a black shirt. Tch! | 0:18:04 | 0:18:09 | |
Could've used an iron, man. | 0:18:09 | 0:18:12 | |
Transformers, a series of films in which a variety of motor vehicles | 0:18:14 | 0:18:19 | |
turn into a variety of robots. | 0:18:19 | 0:18:21 | |
I'd love a car that turns into a robot. | 0:18:21 | 0:18:23 | |
The only thing my car's ever turned into is my drive. I don't really have a drive. | 0:18:23 | 0:18:27 | |
The films were directed by Michael Bay, | 0:18:27 | 0:18:30 | |
a man who loves action so much even his diarrhoea is explosive. | 0:18:30 | 0:18:33 | |
And they star Shia LaBeouf, a man who's no stranger to mistakes | 0:18:33 | 0:18:37 | |
after his parents chose to call him Shia LaBeouf. | 0:18:37 | 0:18:40 | |
Translated into English, his name means "Look at these terrible movie mistakes...LaBeouf." | 0:18:40 | 0:18:46 | |
-Mikaela, do not touch it, OK? -All kinds of things transform | 0:18:46 | 0:18:50 | |
in these films, such as the empty space on the floor. | 0:18:50 | 0:18:54 | |
You're hot, but you ain't so bright. | 0:18:55 | 0:18:58 | |
Suddenly, here's some cigar boxes. | 0:18:58 | 0:19:01 | |
-That'll work. -And a couple of mousetraps. | 0:19:01 | 0:19:04 | |
-Oh! -Clever, yeah? | 0:19:04 | 0:19:06 | |
No, it's awful. | 0:19:06 | 0:19:07 | |
What are you looking at, slobber puss? | 0:19:07 | 0:19:10 | |
Egypt and Jordan, like the tip of a blade. | 0:19:12 | 0:19:14 | |
29.5 degrees north, 35 east. Here it is. | 0:19:14 | 0:19:18 | |
Here's Shia LaBeouf speeding through the Egyptian desert. | 0:19:18 | 0:19:22 | |
But don't let the Pyramids distract you, | 0:19:22 | 0:19:24 | |
because that's the shadow of the camera van driving alongside. | 0:19:24 | 0:19:28 | |
We got the cops. | 0:19:30 | 0:19:32 | |
Rule one when talking to a huge, angry robot: | 0:19:36 | 0:19:39 | |
concentrate on what he's saying. | 0:19:39 | 0:19:41 | |
Come here, boy. | 0:19:41 | 0:19:43 | |
And don't move around. First Shia's at the top of the stairs... | 0:19:43 | 0:19:46 | |
You remember me? | 0:19:46 | 0:19:48 | |
..now he's halfway down. | 0:19:48 | 0:19:50 | |
He's jumped from here to here. | 0:19:50 | 0:19:53 | |
-Just don't hurt her. -And he's moved again, from here to here. | 0:19:54 | 0:19:59 | |
That'll teach him. | 0:20:01 | 0:20:04 | |
You going to wear handcuffs? | 0:20:06 | 0:20:07 | |
Watch out for Shia's hoodie in this scene. | 0:20:07 | 0:20:09 | |
One moment it's off... | 0:20:09 | 0:20:11 | |
This is real. | 0:20:11 | 0:20:13 | |
..and now it's on. | 0:20:15 | 0:20:16 | |
I have a record, because I went and turned my dad in. | 0:20:16 | 0:20:20 | |
When have you had to sacrifice anything in your perfect little life? | 0:20:20 | 0:20:23 | |
Still on. Tense moment. | 0:20:23 | 0:20:26 | |
Big guys. Big guys with big guns. | 0:20:26 | 0:20:27 | |
And now it's half off. | 0:20:27 | 0:20:29 | |
-Answer me! -A clip that features self-removing clothes, | 0:20:29 | 0:20:32 | |
and none of them on Megan Fox. Unbelievable. | 0:20:32 | 0:20:36 | |
Here we see our heroes getting hot and bothered in the desert. | 0:20:40 | 0:20:43 | |
Shia's trying to cool off, waving his jacket around like a madman. | 0:20:43 | 0:20:47 | |
And suddenly, it's gone. | 0:20:54 | 0:20:56 | |
Shame - it was 30 quid from Top Man. | 0:20:56 | 0:20:59 | |
But don't fret, jacket fans, the next scene it's back in his hands. | 0:20:59 | 0:21:03 | |
He should really "jacket" in. | 0:21:03 | 0:21:06 | |
Here's a gripping action scene from director Michael Bay. | 0:21:08 | 0:21:12 | |
The wheels on the bus don't so much go round and round | 0:21:12 | 0:21:15 | |
as explode in a fiery ball of metal and human flesh. | 0:21:15 | 0:21:18 | |
I say "human flesh", but looking at the clip again, | 0:21:18 | 0:21:21 | |
we see that the bus doesn't have any passengers or even seats, | 0:21:21 | 0:21:25 | |
just a dummy driver. | 0:21:25 | 0:21:26 | |
It's as empty as a local cinema showing a Shia LaBeouf-a-thon. | 0:21:26 | 0:21:30 | |
Obviously, actors don't do all their own acting themselves. | 0:21:33 | 0:21:35 | |
Sometimes they're replaced with a body double or even a dummy. | 0:21:35 | 0:21:38 | |
It's ridiculous. You can't replace talent with a dummy. | 0:21:38 | 0:21:41 | |
Isn't that right, David Mitchell? | 0:21:41 | 0:21:43 | |
"That's right, Robert. | 0:21:43 | 0:21:44 | |
"Although I should say, you were always the talented one." | 0:21:44 | 0:21:47 | |
See? I never use a body double. | 0:21:47 | 0:21:50 | |
Why would I, when I've got a body like this? | 0:21:50 | 0:21:53 | |
You're going to put in a six-pack in Post, yeah? | 0:21:54 | 0:21:57 | |
Cheers. | 0:21:57 | 0:21:59 | |
First up, it's '80s classic Fatal Attraction. | 0:22:01 | 0:22:04 | |
Here we see Michael Douglas having a bit of rough and tumble | 0:22:04 | 0:22:07 | |
with original bunny boiler Glenn Close. | 0:22:07 | 0:22:09 | |
Ooh, wait - that's not Michael Douglas. | 0:22:10 | 0:22:12 | |
Let's have another look at him. | 0:22:19 | 0:22:22 | |
Wait for it. | 0:22:22 | 0:22:23 | |
Hang on, is that Jerry Seinfeld? | 0:22:23 | 0:22:27 | |
Well, it looks more like him than Michael Douglas. | 0:22:27 | 0:22:29 | |
Work's probably dried up since the sitcom finished. | 0:22:29 | 0:22:32 | |
Don't turn that engine on, I swear to God. | 0:22:34 | 0:22:36 | |
This scene from Role Models features Ronnie, a small boy stealing a car. | 0:22:36 | 0:22:42 | |
If there's anything funnier | 0:22:42 | 0:22:43 | |
than children recklessly endangering their own lives, | 0:22:43 | 0:22:46 | |
I don't know what it is. | 0:22:46 | 0:22:48 | |
But don't worry, all the actual driving is being done | 0:22:48 | 0:22:50 | |
by a much taller, fully road-legal stuntman. | 0:22:50 | 0:22:53 | |
Kids, eh? They grow up so fast. | 0:22:53 | 0:22:56 | |
What are you doing?! | 0:22:56 | 0:22:58 | |
When you love someone, you've got to trust them. There's no other way. | 0:23:03 | 0:23:07 | |
Casino, a cinema classic. | 0:23:07 | 0:23:10 | |
In this opening scene, director Martin Scorsese gambled that nobody | 0:23:10 | 0:23:14 | |
would spot him replacing Robert De Niro with a rubbish plastic dummy. | 0:23:14 | 0:23:17 | |
..kinda love I had. | 0:23:17 | 0:23:19 | |
Did you spot it? | 0:23:21 | 0:23:23 | |
Bobby De Niro. | 0:23:23 | 0:23:25 | |
Booby De Niro! No dice, Scorsese. | 0:23:25 | 0:23:29 | |
No, it's not Dancing On Ice, it's edgy thriller Ronin. | 0:23:32 | 0:23:36 | |
I've always thought that ice skating | 0:23:36 | 0:23:38 | |
was a popular sport, but apparently not. | 0:23:38 | 0:23:40 | |
Look, they've had to fill out the audience with cardboard cut-outs. | 0:23:42 | 0:23:46 | |
There we are. That's it, mate, take a closer look. | 0:23:46 | 0:23:50 | |
Thomas Jefferson once shot a man on the White House lawn for treason. | 0:23:52 | 0:23:55 | |
Speaking of cardboard characters, | 0:23:55 | 0:23:57 | |
here's John Travolta, up to his old tricks in the movie Swordfish... | 0:23:57 | 0:24:01 | |
..shooting guys and blowing up people. | 0:24:04 | 0:24:06 | |
Ooh, but that's not a people, it's another dodgy lookalike dummy. | 0:24:09 | 0:24:13 | |
Those guys should really avoid cars altogether. | 0:24:13 | 0:24:16 | |
The Blues Brothers - all singing, all dancing, | 0:24:20 | 0:24:23 | |
and all couldn't be bothered to turn up for the crowd scene. | 0:24:23 | 0:24:27 | |
Those are actually two mannequins at the back. Typical. | 0:24:29 | 0:24:33 | |
Saline solution... | 0:24:35 | 0:24:37 | |
Now, most people's legs would turn to jelly | 0:24:37 | 0:24:39 | |
if they were about to be tortured by Gerard Butler. | 0:24:39 | 0:24:42 | |
But this guy's left foot has turned to rubber... | 0:24:42 | 0:24:45 | |
Comfortable? | 0:24:45 | 0:24:47 | |
..because it's fake. | 0:24:47 | 0:24:50 | |
-Boing! -You are shaking. | 0:24:50 | 0:24:52 | |
Are you sure you're all right? | 0:24:52 | 0:24:54 | |
Next up is Avatar, the worldwide blockbuster that asks an age-old question - | 0:24:57 | 0:25:02 | |
what if giant Smurfs with pointy ears could control flying dragons with their tails | 0:25:02 | 0:25:06 | |
and make a tree go all glowy and...? | 0:25:06 | 0:25:08 | |
Yeah, I didn't understand it, either. And it was so long. | 0:25:08 | 0:25:11 | |
James Cameron, take a leaf out of your brother David's book and make some harsh cuts. | 0:25:11 | 0:25:16 | |
If I want to spend three hours in a darkened room wearing a pair of cheap plastic glasses, | 0:25:16 | 0:25:20 | |
I'll go to a tanning salon. | 0:25:20 | 0:25:22 | |
Avatar is set in the mythical world of Pandora | 0:25:24 | 0:25:27 | |
and features a Pandora's box full of movie mistakes, | 0:25:27 | 0:25:30 | |
such as combining the plots of FernGully and Pocahontas. | 0:25:30 | 0:25:34 | |
In this scene, Neytiri's ponytail is out of sight over her shoulder. | 0:25:35 | 0:25:40 | |
Then it's on her back. | 0:25:42 | 0:25:44 | |
And when she goes to plug it into her dragon/horse, | 0:25:49 | 0:25:52 | |
it's round her front again. | 0:25:52 | 0:25:54 | |
-Is not horse. -Ooh, well, excuse me! | 0:25:54 | 0:25:57 | |
-You are clear to... -This guy may be the corporate baddie of the film, | 0:25:59 | 0:26:03 | |
but he's got incredible golf skills. | 0:26:03 | 0:26:05 | |
He can move balls without touching them. | 0:26:05 | 0:26:08 | |
First, the two balls are close together. | 0:26:08 | 0:26:10 | |
You were looking at the monitor. | 0:26:10 | 0:26:12 | |
I love this putter, Ronnie. | 0:26:12 | 0:26:14 | |
I love this putter. | 0:26:14 | 0:26:16 | |
-Next, they're far apart. -Parker! | 0:26:16 | 0:26:19 | |
You know, I used to think it was benign neglect, | 0:26:19 | 0:26:22 | |
but now I see that you're intentionally screwing me. | 0:26:22 | 0:26:25 | |
Grace, you know, I enjoy our little talks. | 0:26:25 | 0:26:29 | |
Then they're back together. | 0:26:29 | 0:26:31 | |
-Oops. -This is wrong in all three dimensions. | 0:26:31 | 0:26:34 | |
..not some jarhead dropout. | 0:26:34 | 0:26:36 | |
Here we see Jake return from his avatar to the real world, | 0:26:39 | 0:26:42 | |
the boring old real world, where mystical things don't exist... | 0:26:42 | 0:26:46 | |
like Sigourney's hand magically moving from his arm | 0:26:46 | 0:26:50 | |
to his shoulder...back to his arm. | 0:26:50 | 0:26:53 | |
Avatar? 'Ave a word with yourself, Mr Cameron. | 0:26:53 | 0:26:57 | |
And it happens again. Watch - Jake's arms start on the table. | 0:26:59 | 0:27:02 | |
-That's called taking the initiative, son. -Now they're on his wheelchair. | 0:27:02 | 0:27:05 | |
Look, Sully, Sully, just find out... | 0:27:05 | 0:27:08 | |
Now they're out straight. | 0:27:08 | 0:27:10 | |
Now bent. | 0:27:10 | 0:27:12 | |
Now straight again. | 0:27:12 | 0:27:14 | |
Honestly, it makes me turn blue with rage. | 0:27:14 | 0:27:18 | |
Here's a big fight from the end of the film. | 0:27:20 | 0:27:24 | |
Have a look at Colonel Quaritch in his cockpit. | 0:27:24 | 0:27:28 | |
There's a wing mirror right at the back, behind his head. | 0:27:28 | 0:27:31 | |
Notice how the front strut is completely mirrorless. | 0:27:31 | 0:27:34 | |
But then suddenly... | 0:27:37 | 0:27:39 | |
Hello! A mirror right by that strut and clearly in front of his head. | 0:27:39 | 0:27:44 | |
A bit of high tension in the jungle. | 0:27:44 | 0:27:45 | |
No mirror in front of him here. | 0:27:45 | 0:27:49 | |
Still no mirror in front of him... | 0:27:49 | 0:27:51 | |
And hello, a handy mirror to see a horsey dragon | 0:27:51 | 0:27:55 | |
attacking his giant robot. | 0:27:55 | 0:27:57 | |
Let's look now at continuity errors, those tiny little mistakes | 0:28:03 | 0:28:07 | |
that film-makers fail to spot, | 0:28:07 | 0:28:09 | |
so there are small changes in scenery or props, | 0:28:09 | 0:28:12 | |
costume or even hair that make the scene almost unwatchable. | 0:28:12 | 0:28:16 | |
All right, you get the idea. | 0:28:16 | 0:28:18 | |
Two hours it's taken us to film this 30-second link. Two hours! | 0:28:18 | 0:28:21 | |
I hope you're happy. | 0:28:21 | 0:28:23 | |
It's wrinkle-fest Wild Hogs. | 0:28:27 | 0:28:29 | |
That's going to stain. Ha! | 0:28:29 | 0:28:32 | |
The tough guy at the back | 0:28:32 | 0:28:33 | |
has mustard all over his forehead, nose and cheek. | 0:28:33 | 0:28:37 | |
Spicy! | 0:28:37 | 0:28:38 | |
But in the next shot, his face is practically clean. | 0:28:40 | 0:28:44 | |
When the director saw this, he was furious, according to my "sauces". | 0:28:44 | 0:28:48 | |
Ha-ha! Sauces! | 0:28:48 | 0:28:50 | |
Shallow Hal now, and a scene-stealing performance | 0:28:52 | 0:28:55 | |
from Jack Black's towel. | 0:28:55 | 0:28:57 | |
She's got cankles, for God's sake! | 0:28:57 | 0:28:59 | |
-First it's in his hand. -What? | 0:28:59 | 0:29:01 | |
Cankles! She's got no ankles. It's like the calf merged with the foot. | 0:29:01 | 0:29:04 | |
Now it's on his neck. | 0:29:04 | 0:29:06 | |
-I know what cankles are! Rosemary doesn't have them. -Now it's gone. | 0:29:06 | 0:29:10 | |
I know what you're doing here. | 0:29:10 | 0:29:13 | |
-You're scared. -Scared of getting upstaged by a towel. -Yep. | 0:29:13 | 0:29:16 | |
Ocean's 13 here, with a spectacular spectacle gaffe. | 0:29:18 | 0:29:22 | |
No, not Brad's glasses. Watch Pacino's. | 0:29:22 | 0:29:25 | |
-I don't want this thing on my desk. -On his face. | 0:29:25 | 0:29:28 | |
-Then they're gone. -I'll tell you what you don't want - | 0:29:28 | 0:29:31 | |
-your hotel on the cover of Time magazine. -And now they're back. | 0:29:31 | 0:29:35 | |
Whoo-ha, what a mistake! | 0:29:35 | 0:29:37 | |
If I belonged to a group known as the Losers, | 0:29:39 | 0:29:42 | |
I'd probably not play cards. | 0:29:42 | 0:29:45 | |
But keep your eyes on the guy with glasses. | 0:29:45 | 0:29:47 | |
-His card has a picture of a woman. She's lying down. -What? | 0:29:47 | 0:29:51 | |
All right. Let's go. | 0:29:51 | 0:29:54 | |
-Standing up. -I will raise you. -You don't want to do that. -Oh, no? | 0:29:54 | 0:29:59 | |
-..that piece you got off that Honduran general. -Lying down again. | 0:29:59 | 0:30:03 | |
-Who's the loser now, Losers? -I'm definitely in. | 0:30:03 | 0:30:05 | |
-Come now, Stu. You can feel it. -Phone Booth. Gritty thriller. | 0:30:07 | 0:30:12 | |
Colin Farrell on a worn and tattered phone. | 0:30:12 | 0:30:15 | |
Anyway, he spends the whole film nattering away. | 0:30:15 | 0:30:18 | |
And by the end, the sticker is brand-new again. | 0:30:18 | 0:30:22 | |
Phone booth or TARDIS? | 0:30:22 | 0:30:24 | |
It's the killers that get the cover of Time magazine. Right? | 0:30:24 | 0:30:28 | |
TARDIS, I reckon, because at the start of the movie, | 0:30:30 | 0:30:33 | |
he takes his wedding ring off. | 0:30:33 | 0:30:34 | |
That old trick, eh, Colin? | 0:30:34 | 0:30:37 | |
A bit later, it's still off... | 0:30:37 | 0:30:40 | |
Look, it's our friends from Channels 2 and 5, your local news, Stu. | 0:30:40 | 0:30:45 | |
You could never do this for any of your clients. | 0:30:45 | 0:30:47 | |
..and then magically pops back on his finger again. Make your mind up, man. | 0:30:47 | 0:30:51 | |
Stick your head out a little so they can get a better angle. | 0:30:51 | 0:30:53 | |
Ah, we've all been in this position before. | 0:30:55 | 0:30:58 | |
Hey! Hey there! | 0:30:58 | 0:31:00 | |
What are you doing there? Oh, no, no, no, no, wait, it's OK. | 0:31:00 | 0:31:04 | |
Stranger danger! Stranger danger! | 0:31:04 | 0:31:06 | |
But watch the toilet roll as it comes out of the bin. | 0:31:06 | 0:31:09 | |
In this shot, it's clean. | 0:31:09 | 0:31:12 | |
And now it's covered in debris. | 0:31:12 | 0:31:14 | |
Toilet roll - clean one minute, filthy the next. Nothing new there. | 0:31:14 | 0:31:18 | |
An audition scene in Bruno now, but it's the cowboy hat | 0:31:22 | 0:31:26 | |
-on the back of the door that's making all the right moves. -Hello. | 0:31:26 | 0:31:30 | |
I'm looking for my vife! | 0:31:30 | 0:31:32 | |
-Shaddap, women. -It's moved. -Fine. | 0:31:34 | 0:31:36 | |
I couldn't hear your woice... | 0:31:36 | 0:31:38 | |
And it's moved again. | 0:31:38 | 0:31:40 | |
..or laugh about it vith you. | 0:31:40 | 0:31:43 | |
Should call it Bor-hat. Hur! | 0:31:43 | 0:31:45 | |
Here we see Will Smith literally in The Pursuit of Happyness. | 0:31:48 | 0:31:52 | |
-Don't move. Don't move! -Doesn't he realise it's an unachievable goal? | 0:31:52 | 0:31:57 | |
When he says, "Don't move," | 0:31:57 | 0:31:58 | |
he's actually talking to that green sticker on the side of the train. | 0:31:58 | 0:32:01 | |
See it? Maybe that's the key to happiness. | 0:32:01 | 0:32:05 | |
-Oh, unlucky, Will, it's gone. -Stop the train! | 0:32:05 | 0:32:09 | |
Ah, the car chase, that old movie chestnut. | 0:32:11 | 0:32:15 | |
You never see them in real life, do you? | 0:32:15 | 0:32:17 | |
The closest I've ever come is desperately needing the loo | 0:32:17 | 0:32:20 | |
and being 15 miles away from Toddington services. | 0:32:20 | 0:32:23 | |
And if you think movie chases end messily, you should have seen what I left on the hard shoulder of the M1! | 0:32:23 | 0:32:28 | |
Well, let's have a look at some car-based clunkers | 0:32:28 | 0:32:31 | |
in a section I'm calling The Steering Wheel of Misfortune. | 0:32:31 | 0:32:35 | |
What? Oh. | 0:32:35 | 0:32:37 | |
Apparently I'm not calling it that, I'm calling it Great Car Chase Mistakes. | 0:32:37 | 0:32:41 | |
Would it kill them to listen to my ideas just once in a while? | 0:32:41 | 0:32:45 | |
Jamie Foxx and Tom Cruise in Collateral here, | 0:32:45 | 0:32:49 | |
about to have an almighty car crash. | 0:32:49 | 0:32:51 | |
But don't get too distracted by the taxi flipping over... | 0:32:53 | 0:32:56 | |
..because what's this? | 0:32:58 | 0:32:59 | |
Has someone left a bag on the road? | 0:32:59 | 0:33:02 | |
No, that'll be a badly hidden camera filming the close-up shot. | 0:33:02 | 0:33:06 | |
There it is. | 0:33:06 | 0:33:07 | |
Maybe it was left there by someone who gets a kick out of filming car crashes. | 0:33:07 | 0:33:11 | |
Probably waiting for George Michael. | 0:33:11 | 0:33:14 | |
A classic car chase from Mission: Impossible II. | 0:33:17 | 0:33:21 | |
Even Ethan Hunt knows that | 0:33:21 | 0:33:22 | |
it's good health and safety practice to buckle up, | 0:33:22 | 0:33:25 | |
especially when you're driving like a maniac. | 0:33:25 | 0:33:29 | |
Hang on, the safety belt's gone again. | 0:33:29 | 0:33:31 | |
No, you're definitely not wearing it, Tom, you fibber. | 0:33:35 | 0:33:37 | |
Who would've thought that Tom Cruise was capable of telling the world a massive lie? | 0:33:40 | 0:33:44 | |
Oh, no, hang on, it's back on again. | 0:33:50 | 0:33:53 | |
Much better. Tom, I take it all back and apologise. | 0:33:53 | 0:33:56 | |
No! | 0:33:56 | 0:33:58 | |
If the world does end in 2012, at least it'd stop John Cusack | 0:34:01 | 0:34:04 | |
making any more shocking disaster movies. | 0:34:04 | 0:34:08 | |
Here he is, saving his family and his wife's new husband, | 0:34:08 | 0:34:11 | |
who appears to be played by me. | 0:34:11 | 0:34:13 | |
I don't remember doing that. | 0:34:13 | 0:34:15 | |
First he knocks my Porsche into a hole in the ground. | 0:34:16 | 0:34:19 | |
Ooh, look how annoyed I am. | 0:34:19 | 0:34:21 | |
Sorry. | 0:34:21 | 0:34:23 | |
But then, as he drives away, the hole and my lovely Porsche | 0:34:23 | 0:34:26 | |
have completely disappeared. Cusack! | 0:34:26 | 0:34:30 | |
This film is called Race To Witch Mountain. | 0:34:33 | 0:34:35 | |
To me, that sounds like the sort of question a confused hiker might ask. | 0:34:35 | 0:34:39 | |
"Which mountain?" | 0:34:39 | 0:34:41 | |
Just look at that bumper. Ooh, it's all smashed up. | 0:34:41 | 0:34:44 | |
But don't worry, this is Dwayne "The Rock" Johnson driving, | 0:34:44 | 0:34:47 | |
so suddenly it's all fixed! | 0:34:47 | 0:34:50 | |
So the big question is not "Which mountain?" | 0:34:50 | 0:34:52 | |
but "Why am I watching this nonsense?" | 0:34:52 | 0:34:55 | |
Take the wheel. | 0:34:57 | 0:34:59 | |
Now another spot of movie magic, this time from Swordfish. | 0:35:01 | 0:35:05 | |
And I really mean magic. | 0:35:05 | 0:35:08 | |
Look closely as this car literally takes off. | 0:35:08 | 0:35:11 | |
The ramp it drove up has been removed in the edit. | 0:35:11 | 0:35:14 | |
Prepare for lift-off. | 0:35:16 | 0:35:18 | |
And crash. | 0:35:18 | 0:35:20 | |
More movie nonsense now with The Taking of Pelham 123. | 0:35:23 | 0:35:27 | |
Check out this police car's lights | 0:35:27 | 0:35:29 | |
getting smashed off as it rolls over. | 0:35:29 | 0:35:31 | |
Look out! | 0:35:31 | 0:35:34 | |
Yeah, definitely gone. | 0:35:34 | 0:35:36 | |
And now, all of a sudden, | 0:35:40 | 0:35:42 | |
they're back again. | 0:35:42 | 0:35:44 | |
How convenient. Actually, nothing about that is convenient. | 0:35:44 | 0:35:48 | |
Bond! James Bond! | 0:35:50 | 0:35:52 | |
His appeal is the exotic locations, the beautiful women | 0:35:52 | 0:35:55 | |
and the fancy cars, but he is after all a civil servant, | 0:35:55 | 0:35:58 | |
and even Bond's style is bound to be cramped in this age of government spending cuts. | 0:35:58 | 0:36:02 | |
"How do you like your Martini, Mr Bond?" "Er, buy one, get one free? | 0:36:02 | 0:36:07 | |
"I haven't got much money, Penny..." | 0:36:07 | 0:36:09 | |
I am, of course, joking. | 0:36:09 | 0:36:11 | |
The Bond films are based on a series of books by Ian Fleming. What a guy. | 0:36:11 | 0:36:15 | |
Yeah, writing spy novels and discovering penicillin. | 0:36:15 | 0:36:18 | |
Unfortunately, he is also responsible for 22 films' worth of movie mistakes. | 0:36:18 | 0:36:24 | |
Let's start at the beginning - Sean Connery in Dr No. | 0:36:24 | 0:36:28 | |
Bond is waiting to knock someone off with his silenced weapon. | 0:36:28 | 0:36:33 | |
Notice he's wearing a tie. Did I say tie? No tie. | 0:36:33 | 0:36:37 | |
You can't be sherioush. | 0:36:37 | 0:36:39 | |
Another classic scene, Connery and Ursula Andress on the beach | 0:36:42 | 0:36:45 | |
being shot at and shouted at by a man with a megaphone. | 0:36:45 | 0:36:49 | |
Are you coming out? | 0:36:49 | 0:36:50 | |
But here's the gaffe. When the shouty man removes the megaphone, | 0:36:50 | 0:36:54 | |
he still has a megaphone voice. | 0:36:54 | 0:36:56 | |
..be back with the dogs! | 0:36:56 | 0:36:57 | |
-Full speed ahead. -MEGAPHONE: No need to shout, mate. | 0:36:57 | 0:37:01 | |
Say what you like about Roger Moore, | 0:37:03 | 0:37:05 | |
he could take a kick in the face like no other Bond... | 0:37:05 | 0:37:08 | |
..probably because when it was face-kicking time, | 0:37:10 | 0:37:13 | |
he had a very unconvincing stuntman take his place. | 0:37:13 | 0:37:17 | |
Right in the kisser. | 0:37:17 | 0:37:20 | |
Here's the iconic opening | 0:37:25 | 0:37:27 | |
from Brosnan's first Bond outing, GoldenEye, | 0:37:27 | 0:37:30 | |
with some freestyle dam-diving. | 0:37:30 | 0:37:33 | |
Notice how there's no snow anywhere to be seen. | 0:37:35 | 0:37:38 | |
It actually looks quite warm and sunny. | 0:37:38 | 0:37:40 | |
He's covertly breaking into an army base at the bottom, by the way. | 0:37:41 | 0:37:45 | |
But a little later, when Bond emerges from the base, | 0:37:49 | 0:37:53 | |
it's suddenly the middle of winter, with snow all over the ground. | 0:37:53 | 0:37:57 | |
Oh, and he's right at the top of a mountain, | 0:37:58 | 0:38:01 | |
not at the bottom of a dam. Dam it, Bond! | 0:38:01 | 0:38:04 | |
Here's Alan Cumming as supergeek Boris Grishenko. | 0:38:08 | 0:38:13 | |
He's such a lovely man. Butter wouldn't melt in his mouth. | 0:38:13 | 0:38:16 | |
Or snow. | 0:38:16 | 0:38:17 | |
That's because it isn't real snow, it's very non-melty fake snow. | 0:38:17 | 0:38:22 | |
Come on, Cumming... | 0:38:22 | 0:38:24 | |
Bond's in a bit of a pickle here - | 0:38:29 | 0:38:31 | |
well, a helicopter ejector seat, to be precise. | 0:38:31 | 0:38:34 | |
Luckily, he's got those two lovely white parachutes | 0:38:37 | 0:38:41 | |
to bring him down to safety. | 0:38:41 | 0:38:43 | |
Did I say white? Sorry, I meant red and white. | 0:38:46 | 0:38:50 | |
The things we do for frequent-flyer mileage. | 0:38:50 | 0:38:54 | |
Oh, Pierce, you joker! | 0:38:54 | 0:38:56 | |
My side is literally splitting. | 0:38:56 | 0:38:59 | |
Now Martin Scorsese's Shutter Island. Shutter Island? | 0:39:01 | 0:39:05 | |
They should shut down the whole film there are so many gaffes! | 0:39:05 | 0:39:09 | |
In this moody thriller, nothing is what it seems. | 0:39:09 | 0:39:12 | |
Is this an asylum? Are you crazy? | 0:39:12 | 0:39:14 | |
Am I crazy? I most certainly am! | 0:39:14 | 0:39:16 | |
Crazy about all the mistakes we've been able to find. | 0:39:16 | 0:39:19 | |
I'm going to go and put on a straitjacket and get my medication | 0:39:19 | 0:39:23 | |
from Nursey while you watch these unhinged clangers. | 0:39:23 | 0:39:27 | |
It's the boat over to Shutter Island, | 0:39:27 | 0:39:29 | |
a prison for the criminally insane! | 0:39:29 | 0:39:31 | |
Four people died. | 0:39:31 | 0:39:33 | |
It was the smoke that got them, not the fire. | 0:39:33 | 0:39:35 | |
Perhaps a quick cigarette to calm the nerves. There it goes. | 0:39:35 | 0:39:40 | |
Hang on, pop it in again. | 0:39:40 | 0:39:42 | |
Maybe I AM the one going insane. | 0:39:42 | 0:39:45 | |
-A little more prone to seasickness. -Ah, dehydration. | 0:39:47 | 0:39:50 | |
-You all right, boss? -Yeah. | 0:39:50 | 0:39:52 | |
-In that case, you're right. -Watch the glass in Leo's hand. | 0:39:52 | 0:39:55 | |
Swallow it down, Leo. | 0:39:55 | 0:39:57 | |
When I said swallow, I meant the pill, not the glass as well. | 0:39:57 | 0:40:01 | |
And one more time. | 0:40:01 | 0:40:03 | |
Glass, no glass. Crazy! | 0:40:03 | 0:40:06 | |
There's no way we can cross those rocks. | 0:40:08 | 0:40:11 | |
Here, Mark Ruffalo ruffles around in his pocket for a bit of paper. | 0:40:11 | 0:40:14 | |
But in the next shot, he's ruffling around all over again. | 0:40:14 | 0:40:18 | |
Talk about building your part up, Ruffalo. | 0:40:18 | 0:40:20 | |
Which they said repeatedly doesn't exist! | 0:40:20 | 0:40:23 | |
I'm getting to that lighthouse. | 0:40:23 | 0:40:25 | |
I don't know what this ugly fella's in prison for. | 0:40:27 | 0:40:30 | |
Perhaps pickpocketing. | 0:40:30 | 0:40:32 | |
He's certainly able to move his hands without us noticing. | 0:40:32 | 0:40:35 | |
They're on the top bar... | 0:40:35 | 0:40:37 | |
-..then the bottom bar. -But you're wrong, you're wrong. -Oh? | 0:40:39 | 0:40:43 | |
Really? Been alone much since you got here? | 0:40:43 | 0:40:47 | |
-Back on that bar... -I've been with my partner. | 0:40:47 | 0:40:50 | |
..back on his head. | 0:40:50 | 0:40:52 | |
Mental! | 0:40:52 | 0:40:54 | |
Easy. | 0:40:54 | 0:40:55 | |
Leo's got Max von Sydow up against a wall. | 0:40:57 | 0:41:00 | |
What are you going to do, kill me? | 0:41:00 | 0:41:03 | |
But look at this reverse shot. | 0:41:03 | 0:41:06 | |
Why is the syringe further away? Where's the wall? | 0:41:06 | 0:41:10 | |
Why is Leo looking up at him in the right shot, | 0:41:10 | 0:41:13 | |
but looking down at a shorter man on the left? | 0:41:13 | 0:41:16 | |
For what? Hm? | 0:41:16 | 0:41:17 | |
From the back, it looks more like Bruce Forsyth than Max von Sydow. | 0:41:17 | 0:41:21 | |
Good game, good game. | 0:41:21 | 0:41:23 | |
Come in out of the rain, lads. | 0:41:30 | 0:41:31 | |
And now for the greatest mystery of Shutter Island, | 0:41:31 | 0:41:35 | |
the legend of Ruffalo's disappearing coat. | 0:41:35 | 0:41:38 | |
Where's it gone? | 0:41:38 | 0:41:40 | |
Let's see it again. | 0:41:40 | 0:41:42 | |
Jesus Christ. | 0:41:42 | 0:41:43 | |
He takes it off. And it's gone. | 0:41:43 | 0:41:45 | |
I'll have nightmares for weeks. | 0:41:45 | 0:41:48 | |
Movie folk aren't always the smartest tools in the box, | 0:41:50 | 0:41:53 | |
and this is apparent when they're asked to write something. | 0:41:53 | 0:41:56 | |
If the clips we're about to see are to be believed, apparently it is impossible | 0:41:56 | 0:42:01 | |
to put pen to paper on screen without making some massive error. | 0:42:01 | 0:42:04 | |
Well, if that really is true, then I've got a word for you. | 0:42:04 | 0:42:07 | |
Ooh, hang on. No, that's right. Roll the clips. | 0:42:09 | 0:42:12 | |
St Trinian's, and no, the mistake here isn't the whole movie. | 0:42:12 | 0:42:16 | |
Keep an eye on the blackboard behind Russell Brand. | 0:42:16 | 0:42:19 | |
Nothing written next to number five. | 0:42:19 | 0:42:21 | |
Search for the criminal inside yourself. Yes? | 0:42:21 | 0:42:23 | |
-TOGETHER: -Theft. | 0:42:25 | 0:42:27 | |
Then suddenly, writing has appeared on Russell's blackboardy-woardy. | 0:42:27 | 0:42:32 | |
Good work. | 0:42:32 | 0:42:33 | |
Here's a newspaper that clearly says it's from the year 1980. | 0:42:35 | 0:42:39 | |
But hold the press, what's this? | 0:42:39 | 0:42:42 | |
TheEmbreyStar.com?! | 0:42:44 | 0:42:46 | |
A web address in 1980? | 0:42:46 | 0:42:48 | |
The World Wide Web didn't exist until the 1990s. | 0:42:48 | 0:42:51 | |
Another Oscar winner now. | 0:42:54 | 0:42:56 | |
Look at the word "direktor" being written on Oskar Schindler's door. | 0:42:56 | 0:43:00 | |
But later in the film, the letters look completely different - | 0:43:00 | 0:43:04 | |
much bigger and in a different font. | 0:43:04 | 0:43:07 | |
I'm sorry, you can't blame this one on the Nazis. | 0:43:07 | 0:43:09 | |
I imagine you sitting in a dark basement room | 0:43:11 | 0:43:14 | |
bent over papers and computer screens. | 0:43:14 | 0:43:16 | |
And finally, a chilling scene from Hannibal. | 0:43:16 | 0:43:20 | |
When crazy old Dr Lecter signs his letter to Clarice Starling, | 0:43:20 | 0:43:24 | |
there is no hyphen between "Hannibal Lecter" | 0:43:24 | 0:43:26 | |
and "MD". | 0:43:26 | 0:43:28 | |
'PS Clearly...' | 0:43:30 | 0:43:31 | |
But when Starling reads the letter, there's a hyphen. | 0:43:31 | 0:43:35 | |
Someone's head should be served on a platter for this mistake. | 0:43:35 | 0:43:39 | |
Maybe with some minted peas and a nice cabernet sauvignon. | 0:43:39 | 0:43:42 | |
HE SLURPS | 0:43:42 | 0:43:43 | |
Let's talk wardrobe malfunctions. | 0:43:45 | 0:43:47 | |
And no, I don't mean getting to number 30 on your IKEA instructions | 0:43:47 | 0:43:51 | |
to find you're missing two screws and an Allen key. I hate you, IKEA. | 0:43:51 | 0:43:55 | |
I'm talking about costume. | 0:43:55 | 0:43:57 | |
Marlon Brando supposedly performed without trousers | 0:43:57 | 0:44:00 | |
to stop directors filming his big belly. | 0:44:00 | 0:44:02 | |
Demi Moore famously performed topless | 0:44:02 | 0:44:04 | |
to ensure directors would film her at all. | 0:44:04 | 0:44:06 | |
But where would we be without costume? | 0:44:06 | 0:44:09 | |
Naked, and no-one wants to see me naked. Apparently. | 0:44:09 | 0:44:13 | |
What we do want to see are these terrible costume-based clangers. | 0:44:13 | 0:44:19 | |
Nobody walks down a street like Brad Pitt, | 0:44:19 | 0:44:21 | |
and no-one can make their suit jacket vanish like him, either. | 0:44:21 | 0:44:24 | |
Now you see it, now you don't. That's just the Pitts. | 0:44:24 | 0:44:29 | |
I missed the part about where my office is. | 0:44:31 | 0:44:34 | |
If you want to be a successful lawyer, | 0:44:34 | 0:44:37 | |
you've got to accessorise properly, | 0:44:37 | 0:44:39 | |
right down to elbow-length gloves and a dog in a hat. | 0:44:39 | 0:44:42 | |
Then I am going to need a glue gun, some pinking shears... | 0:44:42 | 0:44:45 | |
Reese Witherspoon takes her gloves off, and... | 0:44:45 | 0:44:48 | |
-Ooh, they're back on again. -DOG BARKS | 0:44:48 | 0:44:50 | |
Even the dog spotted this gaffe. | 0:44:50 | 0:44:52 | |
Here's Johnny Depp about to be executed | 0:44:54 | 0:44:57 | |
for crimes against continuity. | 0:44:57 | 0:44:58 | |
Keep your eye on the hat ribbon. | 0:44:58 | 0:45:00 | |
The axe man moves it... | 0:45:00 | 0:45:02 | |
As long as I can get at your neck. | 0:45:02 | 0:45:04 | |
..and then it's back on the neck again. | 0:45:04 | 0:45:06 | |
-I'm right behind you. -Off with his head! | 0:45:06 | 0:45:10 | |
Ben Stiller is getting all dressed up | 0:45:12 | 0:45:14 | |
for his first Night at the Museum, but where's his tie? | 0:45:14 | 0:45:19 | |
Just wanted to say good luck, son. | 0:45:19 | 0:45:21 | |
And goodbye. We're clocking out for the last time. | 0:45:21 | 0:45:23 | |
Oh, there it is. Never mind. | 0:45:23 | 0:45:26 | |
Wait, you guys are going out of town? | 0:45:26 | 0:45:28 | |
-Hello, Natalie. -Hello, David. I mean, Sir. | 0:45:30 | 0:45:33 | |
Now, which tie should Hugh Grant wear to meet EastEnders' Tiffany? | 0:45:33 | 0:45:36 | |
The one with the big spots... | 0:45:36 | 0:45:38 | |
I'm so sorry, Sir. | 0:45:38 | 0:45:40 | |
..or the one with the tiny spots? | 0:45:40 | 0:45:43 | |
D'you know, I don't care. | 0:45:43 | 0:45:45 | |
Please, line up on the beach. | 0:45:47 | 0:45:50 | |
Keep your eyes on the girl in the green dress. | 0:45:50 | 0:45:54 | |
Men on one line... | 0:45:54 | 0:45:56 | |
There she is, taking off her shoes. | 0:45:56 | 0:45:59 | |
But in the next scene, they're back on. | 0:45:59 | 0:46:02 | |
Oi, love! Take 'em off! | 0:46:02 | 0:46:04 | |
Remove your mask. | 0:46:04 | 0:46:05 | |
Ooh, not you. | 0:46:05 | 0:46:08 | |
In Shallow Hal, Gwyneth Paltrow plays a fatty | 0:46:11 | 0:46:14 | |
who Jack Black sees as a fitty. Look at her shoes. | 0:46:14 | 0:46:17 | |
High heels, right? | 0:46:17 | 0:46:20 | |
Dang it! Rosemary, don't move. | 0:46:20 | 0:46:22 | |
Is your back all right? | 0:46:22 | 0:46:24 | |
-Yeah. -Is she all right? What happened here? | 0:46:24 | 0:46:26 | |
Yeah. Listen, you got to get some decent chairs in here, man. | 0:46:26 | 0:46:30 | |
-Do me a favour... -Just moments later, | 0:46:30 | 0:46:32 | |
fatty Gwyneth's shoes are completely different and flat, | 0:46:32 | 0:46:35 | |
just like Jack would be if she sat on him. | 0:46:35 | 0:46:37 | |
If you took all the women you two have gone out with, | 0:46:37 | 0:46:40 | |
put 'em together, they wouldn't equal one of her. | 0:46:40 | 0:46:42 | |
We're not arguing that! | 0:46:42 | 0:46:44 | |
Down now! | 0:46:46 | 0:46:47 | |
Pierce Brosnan's furious. No wonder, | 0:46:47 | 0:46:50 | |
he doesn't know whether to button up his jacket or not. | 0:46:50 | 0:46:53 | |
Now it's open... | 0:46:53 | 0:46:55 | |
Good God, you toss that word around... | 0:46:55 | 0:46:58 | |
..and now it's done up. | 0:46:58 | 0:47:00 | |
You wouldn't catch Bond making this kind of sartorial gaffe. | 0:47:00 | 0:47:03 | |
It's notoriously difficult to act whilst eating. If you ask me, | 0:47:05 | 0:47:10 | |
I can't see what the fuss is about. | 0:47:10 | 0:47:12 | |
I'm sorry. | 0:47:12 | 0:47:14 | |
I can't... | 0:47:14 | 0:47:16 | |
I... I can't... | 0:47:16 | 0:47:19 | |
I don't envy movie stars for their flashy houses, fast cars and beautiful girlfriends. | 0:47:22 | 0:47:27 | |
What I do envy is them having drinks that never seem to end, as these clips show. | 0:47:27 | 0:47:33 | |
Here's a classic food and drink gaffe from the film Duel. | 0:47:33 | 0:47:36 | |
Drink it. Drink it. | 0:47:36 | 0:47:38 | |
Yeah, drink it, all of it. | 0:47:39 | 0:47:42 | |
Drink all of it. | 0:47:42 | 0:47:44 | |
There you go. | 0:47:44 | 0:47:45 | |
Hang on, the glass is completely full again! | 0:47:45 | 0:47:49 | |
What if I called the local police? | 0:47:49 | 0:47:50 | |
They can't help you. | 0:47:50 | 0:47:52 | |
Ray Winstone is drinking with Mel Gibson. Always a dangerous pastime. | 0:47:54 | 0:47:59 | |
See how he leaves a good swig at the bottom of his glass. | 0:47:59 | 0:48:02 | |
But in the wide it's completely empty! | 0:48:02 | 0:48:06 | |
I think Mel finished it. | 0:48:06 | 0:48:08 | |
You should always keep an eye on your drink at a party, as this clip from American Pie demonstrates... | 0:48:10 | 0:48:15 | |
You're really beautiful. | 0:48:15 | 0:48:17 | |
Really? | 0:48:18 | 0:48:19 | |
Oh, yeah. | 0:48:20 | 0:48:22 | |
..because the young lady's clear cup suddenly turns into a blue plastic cup. | 0:48:22 | 0:48:27 | |
And it's back again. | 0:48:27 | 0:48:29 | |
I wouldn't drink that if I was you. | 0:48:29 | 0:48:31 | |
God, I'm so nervous. I don't know why! | 0:48:33 | 0:48:36 | |
Here's a film I will never be able to unwatch, Bride Wars. | 0:48:36 | 0:48:40 | |
Keep an eye on the champagne glass. | 0:48:40 | 0:48:43 | |
Y'know, honestly... | 0:48:43 | 0:48:44 | |
It's transformed into a make-up compact. | 0:48:44 | 0:48:47 | |
..the pressure we put on brides... | 0:48:47 | 0:48:49 | |
And now it's champagne again. | 0:48:49 | 0:48:52 | |
Do you know, I could do with a drink after watching that gaffe. | 0:48:52 | 0:48:55 | |
Or some make-up. | 0:48:55 | 0:48:56 | |
-I mean, you've handled some pretty rough customers, huh? -Yeah, I have. | 0:48:58 | 0:49:03 | |
Watch the table in front of taxi driver Travis Bickle. | 0:49:03 | 0:49:06 | |
Just a cup of coffee, right? | 0:49:06 | 0:49:08 | |
Wrong. There's an entirely magically appearing burger there as well. | 0:49:08 | 0:49:13 | |
Hey, Travis, I'm talking to you. | 0:49:13 | 0:49:15 | |
I said I'm talking to... Oh, let's move on. | 0:49:15 | 0:49:18 | |
Josh Brolin here as US president George W Bush. | 0:49:20 | 0:49:24 | |
You know I got tasters in the kitchen? | 0:49:24 | 0:49:26 | |
He's so busy he can't even eat his lunch without running the country at the same time. | 0:49:26 | 0:49:31 | |
Quick bite or two to keep his stamina up... | 0:49:31 | 0:49:34 | |
We got 200 million Americans dead on our hands. | 0:49:34 | 0:49:39 | |
But this must be a self-replenishing sandwich, | 0:49:39 | 0:49:41 | |
because, moments later, both halves are intact again. | 0:49:41 | 0:49:44 | |
Because I'm more worried now than I was on 9/11. | 0:49:46 | 0:49:49 | |
It's your car! Your insurance should pay for it. | 0:49:51 | 0:49:55 | |
Movie classic Back To The Future. | 0:49:55 | 0:49:57 | |
Keep your eye on the sweet jar next to Marty McFly. It's full to the brim with candy. | 0:49:57 | 0:50:01 | |
I haven't yet, but I figured since they weren't due till... | 0:50:01 | 0:50:05 | |
Hello? Hello? | 0:50:05 | 0:50:07 | |
But, just moments later, it's half-empty. | 0:50:07 | 0:50:11 | |
Still, it's a welcome distraction from him trying to cop off with his mother. | 0:50:11 | 0:50:16 | |
Cheers. | 0:50:18 | 0:50:20 | |
The only impossible mission in this clip | 0:50:20 | 0:50:23 | |
is trying to keep track of Ving Rhames' pint glass. | 0:50:23 | 0:50:26 | |
It bounces from his hand | 0:50:26 | 0:50:28 | |
to the table... | 0:50:28 | 0:50:29 | |
Why don't you come back with me? | 0:50:29 | 0:50:32 | |
I just... | 0:50:34 | 0:50:36 | |
I just don't know why I'd be doing it. | 0:50:36 | 0:50:38 | |
..and back to his hand again. | 0:50:38 | 0:50:40 | |
Americans really can't handle their beer. | 0:50:40 | 0:50:43 | |
-OUT OF SYNC: -You know what I hate? Those moments in films | 0:50:45 | 0:50:48 | |
when the actor's mouth isn't synched up with what they're saying. | 0:50:48 | 0:50:51 | |
Sometimes their mouth isn't moving, sometimes it's moving but nothing's coming out. | 0:50:51 | 0:50:56 | |
Still, it's better than watching Twilight, | 0:50:56 | 0:50:58 | |
where you can see Robert Pattinson's mouth moving but what you hear is absolute drivel. | 0:50:58 | 0:51:03 | |
Well, we found their hide-out. | 0:51:03 | 0:51:04 | |
Let's start with The Goonies | 0:51:04 | 0:51:06 | |
and the man driving the car trying to do an Amy Winehouse, | 0:51:06 | 0:51:09 | |
singing and smoking at the same time. Look in the car mirror. | 0:51:09 | 0:51:12 | |
HE SINGS IN ITALIAN | 0:51:12 | 0:51:15 | |
SINGING CONTINUES | 0:51:15 | 0:51:16 | |
We can hear his voice, but his mouth isn't moving. | 0:51:16 | 0:51:20 | |
Watch and learn, Winehouse. | 0:51:20 | 0:51:22 | |
In the movie Collateral, Tom Cruise and Jamie Foxx | 0:51:24 | 0:51:27 | |
go to a jazz club that's so groovy, it ignores the rules of physics. | 0:51:27 | 0:51:31 | |
It's off melody. Behind the notes. Not what's expected. | 0:51:31 | 0:51:34 | |
Listen as the trumpet note continues even though the trumpeter's stopped blowing. | 0:51:34 | 0:51:39 | |
Nice! | 0:51:42 | 0:51:43 | |
-Have I told you about Sammy Jankis? -Mm. Yeah. | 0:51:45 | 0:51:48 | |
Memento now, and watch the guy on the right's mouth. | 0:51:48 | 0:51:51 | |
You think he's still here? | 0:51:51 | 0:51:53 | |
Another one talking without actually moving his lips. | 0:51:53 | 0:51:57 | |
-You think he's still here? -Who? | 0:51:57 | 0:51:58 | |
Johnny G, the guy you're looking for. | 0:51:58 | 0:52:01 | |
..others exceedingly cruel... | 0:52:02 | 0:52:04 | |
Now, this woman is talking so much, you can still hear her when her mouth isn't moving. | 0:52:04 | 0:52:09 | |
Watch closely as she's put down on the sofa. | 0:52:09 | 0:52:12 | |
..coffee shop downstairs. | 0:52:12 | 0:52:13 | |
Not that I'd trade a day, an hour, a moment of it for anything! | 0:52:13 | 0:52:16 | |
I don't know what came over me! | 0:52:16 | 0:52:18 | |
The Windsor plantation. | 0:52:20 | 0:52:22 | |
And here is a classic mouth-wrong from the film The Notebook. | 0:52:22 | 0:52:26 | |
Take note - just because a scene is dimly lit does not mean you can dub over completely different words. | 0:52:26 | 0:52:33 | |
Be careful it isn't broken. | 0:52:33 | 0:52:34 | |
Look at that. | 0:52:34 | 0:52:36 | |
Oh, this place is gigantic! | 0:52:36 | 0:52:39 | |
Yeah, a gigantic piece of... | 0:52:39 | 0:52:40 | |
Awards ceremonies, what a load of ridiculous nonsense. | 0:52:42 | 0:52:46 | |
The people who win react like it's the greatest moment of their life | 0:52:46 | 0:52:50 | |
and start gushing and crying and thanking everyone they've ever met. | 0:52:50 | 0:52:53 | |
It's pathetic. I mean, it's just a little gold statue, after all, | 0:52:53 | 0:52:57 | |
that...feels kind of special to hold. | 0:52:57 | 0:53:00 | |
I suppose it makes you feel like you've achieved something in your life, and...it's all been... | 0:53:00 | 0:53:05 | |
worth it, and... | 0:53:05 | 0:53:06 | |
I promised myself I wouldn't cry, | 0:53:06 | 0:53:09 | |
but I wouldn't be here if it wasn't for my family and my agent. | 0:53:09 | 0:53:13 | |
No, I'm only kidding. It's all nonsense, isn't it? | 0:53:13 | 0:53:16 | |
And even Oscar winners muff things up on a regular basis. | 0:53:16 | 0:53:20 | |
James Cameron's Oscar-winning epic Titanic perfectly captured | 0:53:20 | 0:53:23 | |
what it was like to be aboard the famous ship in 1901, | 0:53:23 | 0:53:27 | |
right down to the camera crew reflected in every door. | 0:53:27 | 0:53:30 | |
Let's see that again. | 0:53:30 | 0:53:32 | |
Oh, dear. | 0:53:32 | 0:53:33 | |
Invictus tells the story of South Africa during the 1995 rugby World Cup. Wow, look at that. | 0:53:40 | 0:53:46 | |
It's just like being in South Africa in 1995, | 0:53:46 | 0:53:50 | |
if you don't look at the 2009 Range Rover driving past. | 0:53:50 | 0:53:54 | |
Or listen to Matt Damon's accent. | 0:53:54 | 0:53:57 | |
Precious now, and Mum, played by Mo'Nique, | 0:54:00 | 0:54:03 | |
is going to do a classic magic trick here, the disappearing cigarette. | 0:54:03 | 0:54:06 | |
Now you see it. | 0:54:06 | 0:54:08 | |
But with a clunk from her magic frying pan... | 0:54:11 | 0:54:14 | |
Clang! Now you don't. | 0:54:14 | 0:54:17 | |
Precious doesn't seem that impressed. | 0:54:17 | 0:54:19 | |
What if she makes it reappear? | 0:54:19 | 0:54:21 | |
Still nothing? Some people, eh? | 0:54:21 | 0:54:24 | |
Break! | 0:54:26 | 0:54:28 | |
I reckon Hilary Swank wore two gum shields in Million Dollar Baby. | 0:54:28 | 0:54:32 | |
There's one being taken out. | 0:54:32 | 0:54:34 | |
-..just keep punching. -I ain't doing great, I'm losing! | 0:54:34 | 0:54:36 | |
You're wearing her down! | 0:54:36 | 0:54:38 | |
And, look, there's another one immediately back in her mouth. | 0:54:38 | 0:54:41 | |
Better to be safe than sorry, Hilary. | 0:54:41 | 0:54:44 | |
Here's Scarlett Johansson alone in her hotel room. Or is she? | 0:54:48 | 0:54:53 | |
Looks like there's a reflection of someone closing a door. | 0:54:55 | 0:54:59 | |
Maybe she didn't deserve that Oscar after all. On reflection. | 0:55:01 | 0:55:05 | |
# Gonna make you, make you, make you notice... # | 0:55:07 | 0:55:11 | |
It's karaoke night in Lost In Translation, | 0:55:11 | 0:55:13 | |
and there's quite a party happening in room number 601. | 0:55:13 | 0:55:17 | |
# Gonna use my style Gonna use my sidestep. # | 0:55:17 | 0:55:21 | |
Anyway, Scarlett Johansson steps outside while Bill Murray takes the mic. | 0:55:21 | 0:55:26 | |
But when he comes out, it's room 602. | 0:55:26 | 0:55:30 | |
That's kara-not-OK. | 0:55:30 | 0:55:33 | |
# There may come a time when a hard-boiled employer | 0:55:35 | 0:55:38 | |
-# Thinks you're... -Awful nice... # | 0:55:38 | 0:55:40 | |
Moulin Rouge won the Oscar for costume, | 0:55:40 | 0:55:43 | |
which is strange, because, if you look at Nicole Kidman's hands, | 0:55:43 | 0:55:46 | |
right hand ungloved, | 0:55:46 | 0:55:48 | |
then it's gloved again. | 0:55:48 | 0:55:51 | |
Her wardrobe is overacting even more than she is. | 0:55:51 | 0:55:54 | |
Where is he? | 0:55:54 | 0:55:56 | |
Bullitt won the Best Film Editing award. | 0:55:57 | 0:55:59 | |
What the film makers didn't edit was an unwitting member of the public | 0:55:59 | 0:56:03 | |
walking into shot and being clobbered by a policeman. | 0:56:03 | 0:56:06 | |
"Where are you going, son?" | 0:56:09 | 0:56:11 | |
Right, that's all we've got. | 0:56:16 | 0:56:17 | |
Remember, as long as there are movie mistakes, | 0:56:17 | 0:56:20 | |
there will be geeks to laugh at them. Goodnight. | 0:56:20 | 0:56:23 | |
Subtitles by Red Bee Media Ltd | 0:56:41 | 0:56:44 | |
E-mail [email protected] | 0:56:44 | 0:56:47 |