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There was once a noble quest undertaken by Tommo and Ben, | 0:00:02 | 0:00:05 | |
two hairy men from the Midlands, and Matthew, "the painfully white". | 0:00:05 | 0:00:09 | |
Bravely, they sought out motion picture mishaps, | 0:00:09 | 0:00:13 | |
cinematic screw-ups and filmic failures. | 0:00:13 | 0:00:16 | |
They travelled as far as Odeon and through the many caverns of Vue, | 0:00:18 | 0:00:22 | |
where they have returned with their prey, | 0:00:22 | 0:00:25 | |
captured on shiny golden rings known as DVDs. | 0:00:25 | 0:00:29 | |
Fine, fine, I know they're not gold. | 0:00:29 | 0:00:33 | |
Join them now as they celebrate Great Movie Mistakes. | 0:00:33 | 0:00:38 | |
Even the sharpest amongst us have experienced moments of idiocy. | 0:00:40 | 0:00:44 | |
Erm, I haven't. | 0:00:44 | 0:00:46 | |
You still developing that range of asbestos balaclavas, Ben? | 0:00:46 | 0:00:49 | |
Sure am, my man! | 0:00:49 | 0:00:51 | |
HE COUGHS | 0:00:51 | 0:00:53 | |
But even Ben at the peak of his powers can't compete with | 0:00:53 | 0:00:56 | |
these pretty awful clunkers we've got coming up. | 0:00:56 | 0:00:59 | |
Some would argue that remaking Total Recall | 0:01:00 | 0:01:03 | |
was a moment of idiocy itself. | 0:01:03 | 0:01:04 | |
It's not great. | 0:01:04 | 0:01:06 | |
Colin Farrell sorting through some passports. | 0:01:06 | 0:01:09 | |
Here's good old Henry Reed. | 0:01:09 | 0:01:12 | |
-More like HENTY Reed. -Oh, you're right! | 0:01:12 | 0:01:14 | |
Across the bottom of the passport, | 0:01:14 | 0:01:16 | |
his name is misspelt. | 0:01:16 | 0:01:17 | |
-Amazing spot, Tom! -Damn right! | 0:01:17 | 0:01:20 | |
Not just a pretty face and sturdy set of calves. | 0:01:20 | 0:01:23 | |
Also, can I just say, his signature is frankly embarrassing. | 0:01:23 | 0:01:27 | |
Blimey! Argo has more continuity errors than factual errors! | 0:01:35 | 0:01:40 | |
Right, we all know what safety glass being smashed sounds like, yeah? | 0:01:40 | 0:01:44 | |
The crunch of freedom. | 0:01:44 | 0:01:46 | |
-Beg your pardon, Ben? -Nothing. | 0:01:46 | 0:01:48 | |
But listen to this... | 0:01:48 | 0:01:49 | |
GLASS SHATTERS | 0:01:51 | 0:01:53 | |
That's ordinary glass breaking. | 0:01:53 | 0:01:55 | |
So what happens to the seven psychopaths at the end? | 0:01:58 | 0:02:01 | |
I don't know what happens to them at the start. | 0:02:01 | 0:02:04 | |
I loved Seven Psychopaths. | 0:02:04 | 0:02:06 | |
Let me guess, it's got swearing and guns in it. | 0:02:06 | 0:02:10 | |
Actually, it's a sharp meta-textural romp | 0:02:10 | 0:02:12 | |
which slyly subverts genre expectations. | 0:02:12 | 0:02:15 | |
-Oh, wow. -And there are some pretty gruesome deaths. -Right(!) | 0:02:15 | 0:02:20 | |
How about this? | 0:02:21 | 0:02:22 | |
But the really gruesome thing is the fact that the text here | 0:02:22 | 0:02:26 | |
is repeated here. | 0:02:26 | 0:02:28 | |
Gross. | 0:02:28 | 0:02:29 | |
I'd like to talk to you boys about Hit And Run. | 0:02:33 | 0:02:36 | |
The film we're currently watching? | 0:02:36 | 0:02:37 | |
What? Oh, yes, yes, of course, the film. | 0:02:37 | 0:02:41 | |
-Good, because there are gaffes galore. -Really, Ben? | 0:02:41 | 0:02:45 | |
Yep, check this out. | 0:02:45 | 0:02:46 | |
Randy is chatting to Charlie on his iPhone, | 0:02:46 | 0:02:49 | |
and he's only gone and held it upside down. | 0:02:49 | 0:02:51 | |
These actors with their challenging jobs(!) | 0:02:51 | 0:02:54 | |
Look, he can't even hold the coffee properly. | 0:02:54 | 0:02:56 | |
That doesn't quite class as a movie mistake. | 0:02:56 | 0:02:59 | |
Hit And Run? More like Miss And Run. Am I right, boys? | 0:03:07 | 0:03:11 | |
Nicely done, Ben. | 0:03:11 | 0:03:12 | |
-That fist isn't touching him. -No, no, he's a martial artist. | 0:03:12 | 0:03:16 | |
He's mastered the minus one inch punch. | 0:03:16 | 0:03:20 | |
He's mainly hitting him with chi. | 0:03:20 | 0:03:22 | |
-Eight blocks that way. -Good, we're staying here. Let's go. | 0:03:25 | 0:03:29 | |
The smartly character-focused Wolverine again. | 0:03:29 | 0:03:33 | |
Now, notice that it's daytime | 0:03:33 | 0:03:34 | |
when Logan and Marie go into the Love Hotel, but do you notice? | 0:03:34 | 0:03:38 | |
Well, by the time they've made it up to their room, it's dark as night. | 0:03:38 | 0:03:41 | |
Wassup wit dat?! | 0:03:41 | 0:03:43 | |
That's just proof that even the transition from night to day | 0:03:43 | 0:03:45 | |
is more efficient in Japan. Wha-cha! | 0:03:45 | 0:03:48 | |
-Check out Yukio and that black portfolio she's handed. -Sure. | 0:03:52 | 0:03:56 | |
I can, princess. | 0:03:57 | 0:03:59 | |
I'm a soldier. | 0:03:59 | 0:04:00 | |
Look again, it's gone. | 0:04:00 | 0:04:03 | |
Cor, that's probably just her mutant power making admin disappear! | 0:04:03 | 0:04:07 | |
Actually, her mutant power is foreseeing people's deaths. | 0:04:07 | 0:04:11 | |
-Thanks for bringing the mood down, Matthew. -You're very welcome, sir. | 0:04:11 | 0:04:15 | |
Intelligent and glossy thriller Jack Reacher here. | 0:04:18 | 0:04:21 | |
Now, we all know Tom Cruise is quite a short man | 0:04:21 | 0:04:24 | |
but this looks ridiculous. | 0:04:24 | 0:04:26 | |
He's just reversing down that dirt path. But listen... | 0:04:26 | 0:04:29 | |
You can hear gears changing! | 0:04:31 | 0:04:32 | |
ENGINE THRUMS WITH GEARS CHANGING | 0:04:32 | 0:04:34 | |
You can't change gear in reverse! | 0:04:37 | 0:04:39 | |
Unless Cruise has used his millions to pay for multiple reverse gears. | 0:04:39 | 0:04:43 | |
It's the bright and bewildering Looper. Now, what's 7x8? | 0:04:46 | 0:04:51 | |
Yes, 56. | 0:04:51 | 0:04:53 | |
So, why, when we change shot, has it moved a space on the board? | 0:04:53 | 0:04:57 | |
How long can you not sleep? | 0:04:57 | 0:04:59 | |
Possibly because the kid is an evil psychic? | 0:04:59 | 0:05:01 | |
I didn't think you'd mastered Looper that well, Ben, | 0:05:01 | 0:05:03 | |
but that's not a bad shout. | 0:05:03 | 0:05:04 | |
Ah-ha, 56 is back, and now we have 21 too! | 0:05:07 | 0:05:12 | |
Based on his face? | 0:05:12 | 0:05:14 | |
Definitely evil and psychic. | 0:05:14 | 0:05:16 | |
Joe. | 0:05:16 | 0:05:18 | |
Now the 21 tile has disappeared, | 0:05:18 | 0:05:20 | |
and 56 is back in the wrong place. | 0:05:20 | 0:05:22 | |
Do this now, OK? You have 32 there, I know you know this one. | 0:05:23 | 0:05:27 | |
And then the 21 comes back, | 0:05:27 | 0:05:29 | |
with the 56 still misplaced as the kid puts down 32 where 56 should be! | 0:05:29 | 0:05:34 | |
-No, 8x3 is what? -32. | 0:05:34 | 0:05:38 | |
8x3 is what? | 0:05:38 | 0:05:40 | |
Was that in any way worth the agony of re-watching this in such detail? | 0:05:40 | 0:05:44 | |
Not remotely. Oh, hang on, I think I've found another. Go back a sec. | 0:05:44 | 0:05:48 | |
Ohhhh! | 0:05:48 | 0:05:49 | |
There, see. He has a fine set of demonic front teeth. | 0:05:49 | 0:05:54 | |
-Now rewind again. -You'll wear the DVD out! Or something. | 0:05:55 | 0:06:00 | |
Look, now he's missing one! | 0:06:01 | 0:06:03 | |
I hate child actors, like Danny DeVito. | 0:06:03 | 0:06:06 | |
Ben, DeVito's been acting since the '60s. | 0:06:06 | 0:06:09 | |
Great, so he's a prolific child actor. | 0:06:09 | 0:06:12 | |
She's not my mom. | 0:06:12 | 0:06:14 | |
Jim Broadbent as the very British Timothy Cavendish here | 0:06:17 | 0:06:20 | |
in the not-entirely successful adaptation of Cloud Atlas. | 0:06:20 | 0:06:24 | |
He's typing a screenplay, | 0:06:24 | 0:06:25 | |
and...pause! | 0:06:25 | 0:06:28 | |
"Labouring" without a U? | 0:06:29 | 0:06:30 | |
Not a very British way of spelling the word, is it, Broadbent? | 0:06:30 | 0:06:34 | |
Maybe he was commenting on this mistake? | 0:06:34 | 0:06:37 | |
La-boring, which is French for, "it's boring." | 0:06:37 | 0:06:39 | |
Stale, uninspired, | 0:06:43 | 0:06:45 | |
cheap, tacky, and a little bit sickly. | 0:06:45 | 0:06:48 | |
No stars. | 0:06:48 | 0:06:50 | |
Wow, Tom, you're really getting into this film criticism thing. | 0:06:50 | 0:06:53 | |
No, I'm reviewing a Chinese take away I had on Just Eat. | 0:06:53 | 0:06:56 | |
Fantastic chemistry, four stars. | 0:06:56 | 0:06:59 | |
Are you reviewing a film, Ben? | 0:06:59 | 0:07:01 | |
No! I'm reviewing my old chemistry teacher. | 0:07:01 | 0:07:04 | |
He's opened a Chinese restaurant on Just Eat. | 0:07:04 | 0:07:08 | |
Thanks for that, both. | 0:07:08 | 0:07:09 | |
Some films are so terrible that continuity errors even improve them. | 0:07:09 | 0:07:13 | |
Slightly. | 0:07:13 | 0:07:14 | |
Let's have a look at the best of the worst. | 0:07:14 | 0:07:16 | |
A proper clunker here from un-special, | 0:07:16 | 0:07:19 | |
poorly scripted Total Recall. | 0:07:19 | 0:07:23 | |
Yeah, Colin Farrell's stunt double is clearly a woman. | 0:07:23 | 0:07:26 | |
Not quite, Benedict. | 0:07:26 | 0:07:27 | |
That's Lori and look at her hair! | 0:07:27 | 0:07:29 | |
Midway through the fight, her hair-band mysteriously disappears... | 0:07:29 | 0:07:33 | |
..a fact that's totally ruined Total Recall for me. | 0:07:35 | 0:07:39 | |
Colin Farrell is strapped into the futuristic | 0:07:42 | 0:07:44 | |
equivalent of the Central Line, and...aha! | 0:07:44 | 0:07:48 | |
That is not how you spell 'forecast'. It's not! It just isn't! | 0:07:48 | 0:07:53 | |
How's your relationship forecast, Matthew? | 0:07:53 | 0:07:55 | |
Patchy and cold. | 0:07:55 | 0:07:57 | |
OK, look at what new guy Marek's doing here, | 0:08:01 | 0:08:05 | |
and listen to Colin's advice... | 0:08:05 | 0:08:07 | |
Whoa, whoa! Don't hold it like that. | 0:08:07 | 0:08:09 | |
Hold it here. | 0:08:09 | 0:08:11 | |
If you hold it there and it shorts, | 0:08:11 | 0:08:13 | |
one of those bulbs will shoot straight through your hand. | 0:08:13 | 0:08:16 | |
But he flat out doesn't listen to him. | 0:08:16 | 0:08:18 | |
He's carried on doing exactly what he was doing! | 0:08:18 | 0:08:21 | |
God's sake, Marek. | 0:08:21 | 0:08:22 | |
Yeah, get it together, Marek. | 0:08:22 | 0:08:24 | |
I despair of Marek, sometimes. I really do. | 0:08:24 | 0:08:27 | |
What's truly scary about the Scary Movie franchise is that | 0:08:32 | 0:08:36 | |
they've made it to five. | 0:08:36 | 0:08:37 | |
Enough is enough. | 0:08:37 | 0:08:39 | |
OK, now look. Snoop is on Mac Miller's right | 0:08:39 | 0:08:42 | |
throughout the conversation. | 0:08:42 | 0:08:44 | |
-Crazy got to have been there. -BLEEP. | 0:08:44 | 0:08:46 | |
Except now he's on his left! | 0:08:46 | 0:08:48 | |
I'm surprised they managed to get Snoop to say the sentences in order. | 0:08:48 | 0:08:52 | |
I don't think he was supposed to be in the film, he just turned up. | 0:08:52 | 0:08:55 | |
-SNOOP: -I don't understand why the shampoo company can't fix that, man. | 0:08:55 | 0:08:58 | |
-Are you going to try out? -Me? | 0:09:01 | 0:09:03 | |
Kendra's about to show off some of her dancing skills. | 0:09:03 | 0:09:06 | |
But, before that, it's a ventriloquism act. | 0:09:06 | 0:09:08 | |
-Look at her mouth as she says "Oh, food." -Oh, food! | 0:09:08 | 0:09:11 | |
She's clearly not saying that. | 0:09:11 | 0:09:13 | |
In fact, I'm a certified lip reader. | 0:09:13 | 0:09:16 | |
She's saying, "Oh, gosh, why am I in this terrible, terrible film?" | 0:09:16 | 0:09:20 | |
Let me see that certificate. | 0:09:20 | 0:09:22 | |
It's Joe Wright's lacklustre | 0:09:26 | 0:09:28 | |
recent adaptation of Anna Karenina. | 0:09:28 | 0:09:30 | |
Morphine, anyone? | 0:09:30 | 0:09:32 | |
I know this is awful, but that is not the solution. | 0:09:32 | 0:09:35 | |
No, what I meant was, look at the label | 0:09:35 | 0:09:37 | |
on the morphine bottle. | 0:09:37 | 0:09:38 | |
See how it changes? | 0:09:38 | 0:09:39 | |
Here it's "la morphine", and later it's just "morphine"! | 0:09:39 | 0:09:42 | |
Why didn't you tell me, for God's sake? | 0:09:49 | 0:09:51 | |
It's the almost laughably bad, must-avoid Taken 2. | 0:09:51 | 0:09:55 | |
Time for a glass of wine! | 0:09:55 | 0:09:57 | |
Here's a bottle and two empty glasses. | 0:09:57 | 0:09:59 | |
-But she's OK, right? -WOMAN: -Yeah, she's OK. | 0:09:59 | 0:10:02 | |
Aaand without anyone touching them, | 0:10:02 | 0:10:05 | |
they're now drinking from them. | 0:10:05 | 0:10:07 | |
Scientific proof that Neeson is a boss. | 0:10:07 | 0:10:10 | |
Are you OK? | 0:10:10 | 0:10:12 | |
Domestic issues in the Mills household. | 0:10:15 | 0:10:17 | |
They can't even decide on what time of year it is. | 0:10:17 | 0:10:21 | |
Here Bryan talks of the upcoming fall break. | 0:10:21 | 0:10:23 | |
You're leaving on fall break next week. | 0:10:23 | 0:10:25 | |
This is the only time I can get to do this before I go to Istanbul. | 0:10:25 | 0:10:29 | |
But, a few days later, | 0:10:29 | 0:10:30 | |
Lenore's imminent spring break plans are cancelled. | 0:10:30 | 0:10:33 | |
We had this trip planned to China | 0:10:33 | 0:10:36 | |
for Kim's spring break as a family, | 0:10:36 | 0:10:38 | |
you know, to try and work things out. | 0:10:38 | 0:10:40 | |
I've been banned from attending either break. | 0:10:40 | 0:10:43 | |
In the whole of America? | 0:10:43 | 0:10:45 | |
Very much so. | 0:10:45 | 0:10:47 | |
Come on. | 0:10:49 | 0:10:51 | |
In this car chase, Neeson's got his car all dirty with food. | 0:10:51 | 0:10:54 | |
See the windscreen? | 0:10:54 | 0:10:56 | |
But look! Here - bang! | 0:10:57 | 0:11:00 | |
The dirt's gone. | 0:11:00 | 0:11:02 | |
Go a bit further, | 0:11:02 | 0:11:03 | |
and it's grubby again. | 0:11:03 | 0:11:05 | |
But also, rewind. | 0:11:05 | 0:11:07 | |
If there's one thing that can ruin a high-octane car chase, it's a | 0:11:09 | 0:11:12 | |
middle-aged woman ambling along at the same speed as the car. | 0:11:12 | 0:11:15 | |
This is great. | 0:11:18 | 0:11:20 | |
Here's Neeson, summoning the US Embassy on his sat-nav. | 0:11:20 | 0:11:23 | |
It's a remarkable feat, | 0:11:23 | 0:11:24 | |
given that he arbitrarily hammers away on entirely the wrong keys. | 0:11:24 | 0:11:28 | |
And look, it isn't even a British alphabet! | 0:11:28 | 0:11:31 | |
Never doubt the Neeson. | 0:11:31 | 0:11:34 | |
He does have a very specific set of skills. | 0:11:34 | 0:11:36 | |
You understand me? | 0:11:36 | 0:11:38 | |
Strap yourselves in, folks. | 0:11:41 | 0:11:42 | |
Another classic car chase. | 0:11:42 | 0:11:45 | |
But the taxi they're driving appears to be invincible. | 0:11:45 | 0:11:48 | |
The police car forces it to drive into some corrugated iron. | 0:11:49 | 0:11:53 | |
And we see, later on, some definite damage to the left side. | 0:11:55 | 0:11:59 | |
Move on a few moments, the damage has completely gone! | 0:12:02 | 0:12:05 | |
But wait! | 0:12:05 | 0:12:06 | |
Here's the rear window getting shot out. | 0:12:08 | 0:12:10 | |
-WOMAN: -Dad! | 0:12:12 | 0:12:13 | |
It's back in the very next shot! | 0:12:13 | 0:12:16 | |
Yep, the car possesses a healing factor, | 0:12:19 | 0:12:21 | |
making some believe it's the love child | 0:12:21 | 0:12:23 | |
of Liam Neeson and Wolverine. | 0:12:23 | 0:12:26 | |
And that's your lot. | 0:12:28 | 0:12:29 | |
See you soon for some more... | 0:12:29 | 0:12:31 | |
ALL: Great Movie Mistakes! | 0:12:31 | 0:12:34 |