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Hello and welcome to Great Movie Mistakes 2. | 0:00:23 | 0:00:28 | |
Even more goofs, gaffes, mess-ups and blunders | 0:00:28 | 0:00:30 | |
that Hollywood's brightest thought we wouldn't notice. | 0:00:30 | 0:00:34 | |
Wrong! Guess they weren't counting on our crack team of... noticers. | 0:00:34 | 0:00:39 | |
They've pored over literally hours of film footage to compile | 0:00:39 | 0:00:42 | |
another classic collection of cinematic clunkers. | 0:00:42 | 0:00:46 | |
On tonight's show: | 0:00:46 | 0:00:48 | |
Now, Martin Scorsese's Shutter Island. Shutter Island? | 0:00:54 | 0:00:58 | |
They should shut down the whole film, there are so many gaffes! | 0:00:58 | 0:01:02 | |
In this movie thriller, nothing is what it seems. | 0:01:02 | 0:01:05 | |
Is this an asylum? Are you crazy? | 0:01:05 | 0:01:07 | |
Am I crazy? I most certainly am! | 0:01:07 | 0:01:10 | |
Crazy about all the mistakes we've been able to find. | 0:01:10 | 0:01:12 | |
I'm going to go and put on a straitjacket and get my medication | 0:01:12 | 0:01:16 | |
from Nursey while you watch these unhinged clangers. | 0:01:16 | 0:01:20 | |
It's the boat over to Shutter Island, | 0:01:20 | 0:01:23 | |
a prison for the criminally insane! | 0:01:23 | 0:01:25 | |
Four people died. | 0:01:25 | 0:01:26 | |
It was the smoke that got them, not the fire. | 0:01:26 | 0:01:29 | |
Perhaps a quick cigarette to calm the nerves. There it goes. | 0:01:29 | 0:01:33 | |
Hang on, pop it in again. | 0:01:33 | 0:01:35 | |
Maybe I AM the one going insane. | 0:01:35 | 0:01:39 | |
-A little more prone to seasickness. -Ah, dehydration. | 0:01:41 | 0:01:44 | |
-You all right, boss? -Yeah. | 0:01:44 | 0:01:45 | |
-In that case, you're right. -Watch the glass in Leo's hand. | 0:01:45 | 0:01:48 | |
Swallow it down, Leo. | 0:01:48 | 0:01:50 | |
When I said swallow, I meant the pill, not the glass as well. | 0:01:50 | 0:01:55 | |
And one more time. | 0:01:55 | 0:01:56 | |
Glass, no glass. Crazy! | 0:01:56 | 0:02:00 | |
There's no way we can cross those rocks. | 0:02:02 | 0:02:05 | |
Here, Mark Ruffalo ruffles around in his pocket for a bit of paper. | 0:02:05 | 0:02:08 | |
But in the next shot, he's ruffling around all over again. | 0:02:08 | 0:02:11 | |
Talk about building your part up, Ruffalo. | 0:02:11 | 0:02:14 | |
Which they said repeatedly doesn't exist! | 0:02:14 | 0:02:17 | |
I'm getting to that lighthouse. | 0:02:17 | 0:02:18 | |
I don't know what this ugly fella's in prison for. | 0:02:20 | 0:02:23 | |
Perhaps pickpocketing. | 0:02:23 | 0:02:25 | |
He's certainly able to move his hands without us noticing. | 0:02:25 | 0:02:28 | |
They're on the top bar... | 0:02:28 | 0:02:30 | |
-..then the bottom bar. -But you're wrong, you're wrong. -Oh? | 0:02:33 | 0:02:36 | |
Really? Been alone much since you got here? | 0:02:36 | 0:02:40 | |
-Back on that bar... -I've been with my partner. | 0:02:40 | 0:02:43 | |
..back on his head. | 0:02:43 | 0:02:46 | |
Mental! | 0:02:46 | 0:02:47 | |
Easy. | 0:02:47 | 0:02:48 | |
Leo's got Max von Sydow up against a wall. | 0:02:50 | 0:02:53 | |
What are you going to do, kill me? | 0:02:53 | 0:02:57 | |
But look at this reverse shot. | 0:02:57 | 0:02:59 | |
Why is the syringe further away? Where's the wall? | 0:02:59 | 0:03:03 | |
Why is Leo looking up at him in the right shot, | 0:03:03 | 0:03:06 | |
but looking down at a shorter man on the left? | 0:03:06 | 0:03:09 | |
For what? Hm? | 0:03:09 | 0:03:10 | |
From the back, it looks more like Bruce Forsyth than Max von Sydow. | 0:03:10 | 0:03:14 | |
Good game, good game. | 0:03:14 | 0:03:16 | |
Come in out of the rain, lads. | 0:03:23 | 0:03:25 | |
And now for the greatest mystery of Shutter Island, | 0:03:25 | 0:03:28 | |
the legend of Ruffalo's disappearing coat. | 0:03:28 | 0:03:31 | |
Where's it gone? | 0:03:31 | 0:03:33 | |
Let's see it again. | 0:03:33 | 0:03:35 | |
Jesus Christ. | 0:03:35 | 0:03:37 | |
He takes it off. And it's gone. | 0:03:37 | 0:03:39 | |
I'll have nightmares for weeks. | 0:03:39 | 0:03:42 | |
Let's talk wardrobe malfunctions. | 0:03:44 | 0:03:46 | |
And no, I don't mean getting to number 30 on your IKEA instructions | 0:03:46 | 0:03:49 | |
to find you're missing two screws and an Allen key. I hate you, IKEA. | 0:03:49 | 0:03:54 | |
I'm talking about costume. | 0:03:54 | 0:03:55 | |
Marlon Brando supposedly performed without trousers | 0:03:55 | 0:03:58 | |
to stop directors filming his big belly. | 0:03:58 | 0:04:00 | |
Demi Moore famously performed topless | 0:04:00 | 0:04:03 | |
to ensure directors would film her at all. | 0:04:03 | 0:04:05 | |
But where would we be without costume? | 0:04:05 | 0:04:08 | |
Naked, and no-one wants to see me naked. Apparently. | 0:04:08 | 0:04:12 | |
What we do want to see are these terrible costume-based clangers. | 0:04:12 | 0:04:17 | |
Nobody walks down a street like Brad Pitt, | 0:04:17 | 0:04:20 | |
and no-one can make their suit jacket vanish like him, either. | 0:04:20 | 0:04:23 | |
Now you see it, now you don't. That's just the Pitts. | 0:04:23 | 0:04:28 | |
I missed the part about where my office is. | 0:04:30 | 0:04:33 | |
If you want to be a successful lawyer, | 0:04:33 | 0:04:36 | |
you've got to accessorise properly, | 0:04:36 | 0:04:37 | |
right down to elbow-length gloves and a dog in a hat. | 0:04:37 | 0:04:40 | |
Then I am going to need a glue gun, some pinking shears... | 0:04:40 | 0:04:44 | |
Reese Witherspoon takes her gloves off, and... | 0:04:44 | 0:04:47 | |
-Ooh, they're back on again. -DOG BARKS | 0:04:47 | 0:04:49 | |
Even the dog spotted this gaffe. | 0:04:49 | 0:04:51 | |
Here's Johnny Depp about to be executed | 0:04:53 | 0:04:55 | |
for crimes against continuity. | 0:04:55 | 0:04:57 | |
Keep your eye on the hat ribbon. | 0:04:57 | 0:04:59 | |
The axe man moves it... | 0:04:59 | 0:05:01 | |
As long as I can get at your neck. | 0:05:01 | 0:05:02 | |
..and then it's back on the neck again. | 0:05:02 | 0:05:05 | |
-I'm right behind you. -Off with his head! | 0:05:05 | 0:05:09 | |
Ben Stiller is getting all dressed up | 0:05:11 | 0:05:13 | |
for his first Night at the Museum, but where's his tie? | 0:05:13 | 0:05:17 | |
Just wanted to say good luck, son. | 0:05:17 | 0:05:19 | |
And goodbye. We're clocking out for the last time. | 0:05:19 | 0:05:22 | |
Oh, there it is. Never mind. | 0:05:22 | 0:05:24 | |
Wait, you guys are going out of town? | 0:05:24 | 0:05:27 | |
-Hello, Natalie. -Hello, David. I mean, Sir. | 0:05:29 | 0:05:31 | |
Now, which tie should Hugh Grant wear to meet EastEnders' Tiffany? | 0:05:31 | 0:05:35 | |
The one with the big spots... | 0:05:35 | 0:05:37 | |
I'm so sorry, Sir. | 0:05:37 | 0:05:38 | |
..or the one with the tiny spots? | 0:05:38 | 0:05:42 | |
D'you know, I don't care. | 0:05:42 | 0:05:44 | |
Please, line up on the beach. | 0:05:46 | 0:05:49 | |
Keep your eyes on the girl in the green dress. | 0:05:49 | 0:05:53 | |
Men on one line... | 0:05:53 | 0:05:55 | |
There she is, taking off her shoes. | 0:05:55 | 0:05:58 | |
But in the next scene, they're back on. | 0:05:58 | 0:06:01 | |
Oi, love! Take 'em off! | 0:06:01 | 0:06:03 | |
Remove your mask. | 0:06:03 | 0:06:04 | |
Ooh, not you. | 0:06:04 | 0:06:06 | |
In Shallow Hal, Gwyneth Paltrow plays a fatty | 0:06:09 | 0:06:13 | |
who Jack Black sees as a fitty. Look at her shoes. | 0:06:13 | 0:06:16 | |
High heels, right? | 0:06:16 | 0:06:19 | |
Dang it! Rosemary, don't move. | 0:06:19 | 0:06:21 | |
Is your back all right? | 0:06:21 | 0:06:22 | |
-Yeah. -Is she all right? What happened here? | 0:06:22 | 0:06:25 | |
Yeah. Listen, you got to get some decent chairs in here, man. | 0:06:25 | 0:06:29 | |
-Do me a favour... -Just moments later, | 0:06:29 | 0:06:31 | |
fatty Gwyneth's shoes are completely different and flat, | 0:06:31 | 0:06:34 | |
just like Jack would be if she sat on him. | 0:06:34 | 0:06:36 | |
If you took all the women you two have gone out with, | 0:06:36 | 0:06:38 | |
put 'em together, they wouldn't equal one of her. | 0:06:38 | 0:06:41 | |
We're not arguing that! | 0:06:41 | 0:06:43 | |
Down now! | 0:06:45 | 0:06:46 | |
Pierce Brosnan's furious. No wonder, | 0:06:46 | 0:06:49 | |
he doesn't know whether to button up his jacket or not. | 0:06:49 | 0:06:52 | |
Now it's open... | 0:06:52 | 0:06:53 | |
Good God, you toss that word around... | 0:06:53 | 0:06:56 | |
..and now it's done up. | 0:06:56 | 0:06:59 | |
You wouldn't catch Bond making this kind of sartorial gaffe. | 0:06:59 | 0:07:02 | |
Quentin Tarantino is one of the greatest directors of his generation. | 0:07:04 | 0:07:09 | |
He's also a very naughty boy. By calling his last film Inglourious Basterds, | 0:07:09 | 0:07:13 | |
he thought his misspelling would allow him to get away with using a swearword. What a dockhead. | 0:07:13 | 0:07:18 | |
The film follows the adventures of a group of Nazi-hunters. | 0:07:18 | 0:07:21 | |
Well, Nazi hunters, our mistake hunters are after you. | 0:07:21 | 0:07:24 | |
But just because our hunters are hunting Nazi-hunters, | 0:07:24 | 0:07:27 | |
it doesn't mean we're on the same side as the Nazis. OK? They're not. | 0:07:27 | 0:07:31 | |
This film is filled with the kind of mistakes | 0:07:31 | 0:07:33 | |
that make you want to track down those responsible | 0:07:33 | 0:07:36 | |
and carve the word "numpty" into their forehead. | 0:07:36 | 0:07:39 | |
Sergeant Hugo Stiglitz. | 0:07:39 | 0:07:43 | |
Heard of him? | 0:07:43 | 0:07:45 | |
Everybody in the German army's heard of Hugo Stiglitz. | 0:07:45 | 0:07:48 | |
Let's start with the scene where we find out about a Nazi turned good guy who goes by the name of.... | 0:07:48 | 0:07:53 | |
Well, you can probably read it for yourself. | 0:07:53 | 0:07:56 | |
And here's a newspaper article all about the Nazis he's meant to have killed. | 0:07:57 | 0:08:00 | |
On the top row here, there are six photos. | 0:08:00 | 0:08:04 | |
Go ahead and count them. | 0:08:04 | 0:08:05 | |
Hugo Stiglitz is a celebrity among German soldiers. | 0:08:05 | 0:08:09 | |
But in this close-up there are actually seven photos across. | 0:08:09 | 0:08:12 | |
Which is it, Hugo, six or seven? | 0:08:12 | 0:08:14 | |
You will answer me! | 0:08:14 | 0:08:16 | |
Keep an eye on Colonel Landa's cigarette in this clip. | 0:08:18 | 0:08:22 | |
He's just lit it. | 0:08:22 | 0:08:25 | |
Already, there's ash hanging off. | 0:08:25 | 0:08:28 | |
Hmm. Tension mounting. | 0:08:29 | 0:08:33 | |
Doesn't even take a single drag. | 0:08:33 | 0:08:35 | |
But seconds later, he puts it out in his apfel strudel. | 0:08:39 | 0:08:43 | |
And suddenly it's burned down to a stub. | 0:08:43 | 0:08:46 | |
Leading lady Shosanna puts on heavy lipstick | 0:08:48 | 0:08:50 | |
for an evening of Nazi bothering. | 0:08:50 | 0:08:52 | |
But hang on, in this shot, she's hardly wearing any lipstick. | 0:08:54 | 0:08:58 | |
And there's no big, red mark on the wine glass. | 0:08:58 | 0:09:01 | |
No, it's all right, lipstick's back again. As you were. | 0:09:05 | 0:09:09 | |
I've been chewed out before. | 0:09:15 | 0:09:16 | |
It's the end of the film with everyone making a break for freedom. | 0:09:16 | 0:09:18 | |
Heard that deal you made with the brass. | 0:09:18 | 0:09:21 | |
But something else is trying to make a run for it and that's Brad Pitt's tie. | 0:09:21 | 0:09:27 | |
-First you can see both sides... -I'd make that deal. -I don't blame you. | 0:09:27 | 0:09:30 | |
Then one side has made a run for it. | 0:09:30 | 0:09:33 | |
And that pretty little nest you've feathered for yourself. Well, if you're willing to barbecue | 0:09:33 | 0:09:37 | |
the whole high command, I suppose that's worth certain considerations. | 0:09:37 | 0:09:40 | |
Don't worry, it'll be back. | 0:09:40 | 0:09:42 | |
But I do have one question. | 0:09:42 | 0:09:44 | |
Yeah, who's in charge of continuity here? | 0:09:44 | 0:09:46 | |
It's notoriously difficult to act whilst eating. If you ask me, | 0:09:48 | 0:09:53 | |
I can't see what the fuss is about. | 0:09:53 | 0:09:55 | |
I'm sorry. | 0:09:55 | 0:09:57 | |
I can't... | 0:09:57 | 0:09:59 | |
I... I can't... | 0:09:59 | 0:10:02 | |
I don't envy movie stars for their flashy houses, fast cars and beautiful girlfriends. | 0:10:05 | 0:10:10 | |
What I do envy is them having drinks that never seem to end, as these clips show. | 0:10:10 | 0:10:15 | |
Here's a classic food and drink gaffe from the film Duel. | 0:10:15 | 0:10:19 | |
Drink it. Drink it. | 0:10:19 | 0:10:21 | |
Yeah, drink it, all of it. | 0:10:22 | 0:10:25 | |
Drink all of it. | 0:10:25 | 0:10:26 | |
There you go. | 0:10:26 | 0:10:28 | |
Hang on, the glass is completely full again! | 0:10:29 | 0:10:31 | |
What if I called the local police? | 0:10:31 | 0:10:33 | |
They can't help you. | 0:10:33 | 0:10:35 | |
Ray Winstone is drinking with Mel Gibson. Always a dangerous pastime. | 0:10:37 | 0:10:42 | |
See how he leaves a good swig at the bottom of his glass. | 0:10:42 | 0:10:45 | |
But in the wide, it's completely empty! | 0:10:45 | 0:10:49 | |
I think Mel finished it. | 0:10:49 | 0:10:50 | |
You should always keep an eye on your drink at a party, as this clip from American Pie demonstrates... | 0:10:52 | 0:10:58 | |
You're really beautiful. | 0:10:58 | 0:10:59 | |
Really? | 0:11:00 | 0:11:02 | |
Oh, yeah. | 0:11:03 | 0:11:04 | |
..because the young lady's clear cup suddenly turns into a blue plastic cup. | 0:11:04 | 0:11:10 | |
And it's back again. | 0:11:10 | 0:11:12 | |
I wouldn't drink that if I was you. | 0:11:12 | 0:11:14 | |
God, I'm so nervous. I don't know why! | 0:11:16 | 0:11:18 | |
Here's a film I will never be able to unwatch, Bride Wars. | 0:11:18 | 0:11:23 | |
Keep an eye on the champagne glass. | 0:11:23 | 0:11:25 | |
Y'know, honestly... | 0:11:25 | 0:11:27 | |
It's transformed into a make-up compact. | 0:11:27 | 0:11:29 | |
..the pressure we put on brides... | 0:11:29 | 0:11:32 | |
And now it's champagne again. | 0:11:32 | 0:11:34 | |
Do you know, I could do with a drink after watching that gaffe. | 0:11:34 | 0:11:37 | |
Or some make-up. | 0:11:37 | 0:11:39 | |
-I mean, you've handled some pretty rough customers, huh? -Yeah, I have. | 0:11:41 | 0:11:45 | |
Watch the table in front of taxi driver Travis Bickle. | 0:11:45 | 0:11:49 | |
Just a cup of coffee, right? | 0:11:49 | 0:11:51 | |
Wrong. There's an entirely magically appearing burger there as well. | 0:11:51 | 0:11:56 | |
Hey, Travis, I'm talking to you. | 0:11:56 | 0:11:58 | |
I said I'm talking to... Oh, let's move on. | 0:11:58 | 0:12:01 | |
Josh Brolin here as US President George W Bush. | 0:12:03 | 0:12:06 | |
You know I got tasters in the kitchen? | 0:12:06 | 0:12:09 | |
He's so busy he can't even eat his lunch without running the country at the same time. | 0:12:09 | 0:12:14 | |
Quick bite or two to keep his stamina up... | 0:12:14 | 0:12:17 | |
We got 200 million Americans dead on our hands. | 0:12:17 | 0:12:21 | |
But this must be a self-replenishing sandwich, | 0:12:21 | 0:12:24 | |
because, moments later, both halves are intact again. | 0:12:24 | 0:12:27 | |
Because I'm more worried now than I was on 9/11. | 0:12:29 | 0:12:32 | |
It's your car! Your insurance should pay for it. | 0:12:34 | 0:12:37 | |
Movie classic Back To The Future. | 0:12:37 | 0:12:40 | |
Keep your eye on the sweet jar next to Marty McFly. It's full to the brim with candy. | 0:12:40 | 0:12:44 | |
I haven't yet, but I figured since they weren't due till... | 0:12:44 | 0:12:48 | |
Hello? Hello? | 0:12:48 | 0:12:50 | |
But, just moments later, it's half-empty. | 0:12:50 | 0:12:54 | |
Still, it's a welcome distraction from him trying to cop off with his mother. | 0:12:54 | 0:12:59 | |
Cheers. | 0:13:01 | 0:13:03 | |
The only impossible mission in this clip | 0:13:03 | 0:13:05 | |
is trying to keep track of Ving Rhames' pint glass. | 0:13:05 | 0:13:08 | |
It bounces from his hand | 0:13:08 | 0:13:11 | |
to the table... | 0:13:11 | 0:13:12 | |
Why don't you come back with me? | 0:13:12 | 0:13:14 | |
I just... | 0:13:17 | 0:13:18 | |
I just don't know why I'd be doing it. | 0:13:18 | 0:13:21 | |
..and back to his hand again. | 0:13:21 | 0:13:23 | |
Americans really can't handle their beer. | 0:13:23 | 0:13:26 | |
Subtitles by Red Bee Media Ltd | 0:13:47 | 0:13:50 |