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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 pray, | 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 | |
THEY ARGUE | 0:00:42 | 0:00:45 | |
Hello, we're Pappy's, and welcome to Great Movie Mistakes. | 0:00:45 | 0:00:49 | |
My greatest movie mistake was messing up my audition to be Edward in the Twilight films. | 0:00:49 | 0:00:54 | |
Should never have got that spray tan. | 0:00:54 | 0:00:56 | |
Mine was being Bella in your audition tape. | 0:00:56 | 0:00:58 | |
Did we really have to act out the whole film? | 0:00:58 | 0:01:01 | |
What Tom and Ben have expertly failed to explain | 0:01:01 | 0:01:03 | |
is that, tonight, we're going to be going through clip after clip of great movie mistakes. | 0:01:03 | 0:01:07 | |
-I can't wait. -Bella! It's time. | 0:01:07 | 0:01:11 | |
Stop it! | 0:01:11 | 0:01:13 | |
-Rotten Tomatoes. -Yes, please, my favourite. | 0:01:20 | 0:01:24 | |
Think I'll stick to the popcorn. | 0:01:24 | 0:01:25 | |
-It's a movie review site. -What? | 0:01:25 | 0:01:28 | |
Uninformed slobs lying around giving their inexpert opinion on films. | 0:01:28 | 0:01:33 | |
-I hate that. -Yeah. Just imagine. | 0:01:33 | 0:01:37 | |
HE BELCHES | 0:01:37 | 0:01:39 | |
Anyway, this section features films that were the darlings of the critics | 0:01:39 | 0:01:42 | |
and rated most highly on IMDb, Rotten Tomatoes, that sort of thing. | 0:01:42 | 0:01:46 | |
-I hope it features my favourite film of 2013. -What was that, Ben? | 0:01:46 | 0:01:50 | |
Waterworld. | 0:01:50 | 0:01:52 | |
Well, A, that was made in 1995 and B, it was cobblers, mate. | 0:01:52 | 0:01:57 | |
Actually, Tom, the Waterworld I'm referring to was | 0:01:57 | 0:02:00 | |
a 15-minute clip on a rather niche premium website. | 0:02:00 | 0:02:04 | |
Let's have a look at those mistakes. | 0:02:04 | 0:02:06 | |
Looper is a clever and original time-travel film. | 0:02:07 | 0:02:11 | |
I say this because I actually understand it. | 0:02:11 | 0:02:14 | |
But look at the gun. | 0:02:14 | 0:02:16 | |
He cocks it. | 0:02:16 | 0:02:17 | |
Now, it's uncocked. | 0:02:19 | 0:02:21 | |
Now, he's cocked it again. | 0:02:24 | 0:02:26 | |
-Sounds like my weekend. -Was that supposed to be smutty? | 0:02:27 | 0:02:31 | |
-No, I bought a gun. -Oh. | 0:02:31 | 0:02:33 | |
What the hell's going on out there? | 0:02:33 | 0:02:35 | |
So, let me get this straight. | 0:02:40 | 0:02:41 | |
Bruce Willis and Joseph Gordon-Levitt are the same person? | 0:02:41 | 0:02:45 | |
If that's the case, | 0:02:45 | 0:02:46 | |
why is Bruce left-handed... | 0:02:46 | 0:02:49 | |
..and Joseph right-handed? | 0:02:51 | 0:02:53 | |
That's a damn fine point. | 0:02:53 | 0:02:55 | |
-I think Bruce might just be using a left-handed gun. -Ssh, Ben. | 0:02:55 | 0:02:58 | |
Let's play a game of "Who's In The Truck?" | 0:03:05 | 0:03:07 | |
-The kid and his mum! -If only. | 0:03:07 | 0:03:09 | |
Look again, it's empty! | 0:03:15 | 0:03:17 | |
Apart from a roll cage to stop the people who aren't even in there | 0:03:17 | 0:03:21 | |
getting hurt. | 0:03:21 | 0:03:22 | |
Clearly, the director removed the child and actress before the crash | 0:03:22 | 0:03:26 | |
which, in terms of verisimilitude, is frankly irresponsible. | 0:03:26 | 0:03:31 | |
I'm sorry. | 0:03:31 | 0:03:33 | |
You never cared about her and you never cared about us. | 0:03:35 | 0:03:39 | |
Mud, an engrossing, heart-warming modern fairy tale. | 0:03:39 | 0:03:43 | |
Not about the cheesy glam-rock group from the '70s? | 0:03:43 | 0:03:46 | |
No, it's a film about mud. | 0:03:46 | 0:03:48 | |
The mud in this scene magically disappears from that boy's trousers. | 0:03:48 | 0:03:52 | |
Must be a fairy tale when you don't even need to wash your grubby kecks. | 0:03:52 | 0:03:55 | |
End Of Watch is a hard-hitting and intense movie | 0:04:00 | 0:04:04 | |
set on 06/08/2011 which, being America, means it's the 8th of June. | 0:04:04 | 0:04:08 | |
-Nutters. -But look here! | 0:04:08 | 0:04:11 | |
Jake's paperwork says 8/19/12, a whole year in their future, | 0:04:11 | 0:04:16 | |
and either the 19th of August or the 8th of Matthewary, | 0:04:16 | 0:04:19 | |
the 19th month in my invented calendar. | 0:04:19 | 0:04:22 | |
I'm angry you didn't include Benuary. | 0:04:22 | 0:04:25 | |
Nobenber had more of a ring to it for some reason. | 0:04:25 | 0:04:28 | |
Life Of Pi. Beautiful cinematography but terrible mistakes. | 0:04:32 | 0:04:38 | |
-This is an absolute disgrace! Look at the ship. -Choppy waters. | 0:04:38 | 0:04:42 | |
Indeed, Matthew. But has our boy, Pi, noticed? Somehow, no. | 0:04:42 | 0:04:47 | |
His bedroom is incredibly calm. | 0:04:47 | 0:04:50 | |
-Wait, that's supposed to be in the same ship? -I know! | 0:04:50 | 0:04:54 | |
Look at this girl in the bottom centre. | 0:04:58 | 0:05:00 | |
Can you see a flower in her hair? | 0:05:00 | 0:05:02 | |
-IN MEDIEVAL STYLE: -Sir, I tell you I cannot. | 0:05:02 | 0:05:05 | |
Well, look again! | 0:05:05 | 0:05:07 | |
-Gadzooks! -Ben, are you all right? | 0:05:07 | 0:05:10 | |
I think so. Are you sure this is tea? | 0:05:10 | 0:05:12 | |
It's the nostalgically fun and sweet comedy Wreck-It Ralph. | 0:05:17 | 0:05:21 | |
But there's nothing funny about this mistake. | 0:05:21 | 0:05:23 | |
-Nonetheless, we've included it. -Oh, God, yeah. | 0:05:23 | 0:05:26 | |
-Deanna's dress is shiny with leaves and flowers on it. -Look again. | 0:05:27 | 0:05:31 | |
It's a plain dress. | 0:05:31 | 0:05:32 | |
And seconds later, she's by the door wearing the original dress. | 0:05:37 | 0:05:41 | |
I don't know what to believe any more. | 0:05:41 | 0:05:43 | |
Now, I've got a bone to pick with you, Ralph. | 0:05:48 | 0:05:50 | |
This is that candy go-kart game over by the Whack-A-Mole. | 0:05:50 | 0:05:54 | |
-I've got to get out of here. -Mole? Whack-A-Mole, is it, Ralph? | 0:05:54 | 0:05:58 | |
Ha! It's Whack-A-Troll! | 0:05:59 | 0:06:03 | |
Wildly inconsistent, which is what I shouted | 0:06:03 | 0:06:05 | |
when I first watched this film. | 0:06:05 | 0:06:07 | |
Is that why we're banned from the Odeon in Crystal Palace? | 0:06:07 | 0:06:10 | |
Essentially, yes. | 0:06:10 | 0:06:11 | |
Ralph's sticking Sour Bill to a candy tree. | 0:06:14 | 0:06:16 | |
Note the branch pointing downwards. | 0:06:16 | 0:06:19 | |
-Stick around. -Yes, OK, I will. | 0:06:19 | 0:06:21 | |
But now, Sour Bill has freed himself and, in freeing himself, | 0:06:22 | 0:06:25 | |
has somehow twisted the branch so it points to his right. | 0:06:25 | 0:06:29 | |
Doubly impressive given that his hands and feet | 0:06:29 | 0:06:31 | |
float next to his body. | 0:06:31 | 0:06:33 | |
All very sloppy. | 0:06:33 | 0:06:35 | |
Is this Ryan Gosling starring as the Milky Bar Kid? | 0:06:41 | 0:06:44 | |
No, Tom, this is the powerful | 0:06:44 | 0:06:45 | |
-and intriguing drama The Place Beyond The Pines. -Oh, that's a shame. | 0:06:45 | 0:06:49 | |
He could have shared his stash of chocolate with | 0:06:49 | 0:06:52 | |
the lady at the table behind him. | 0:06:52 | 0:06:53 | |
Those plates the waitress just brought over have vanished. | 0:06:53 | 0:06:56 | |
Anything you think I might want to know before I leave here? | 0:06:58 | 0:07:01 | |
-Continuity. -What? When you have trouble with your bowels? | 0:07:05 | 0:07:08 | |
No, that's incontinuity. | 0:07:08 | 0:07:10 | |
-When you resume drinking a cup of PG Tips? -No, that's continue-a-tea. | 0:07:10 | 0:07:18 | |
Errors, like those two "jokes", | 0:07:18 | 0:07:20 | |
are things that should never have happened | 0:07:20 | 0:07:22 | |
-and continuity errors are the bread and butter of movie mistakes. -What? | 0:07:22 | 0:07:25 | |
When you move some Eskimos to the Home Counties? | 0:07:25 | 0:07:29 | |
-No, that's Kent-Inuit-ee. -Enough! | 0:07:29 | 0:07:33 | |
Some inspired performances in Hitchcock and, luckily, | 0:07:35 | 0:07:38 | |
some brilliant bloopers. | 0:07:38 | 0:07:40 | |
Alfred Hitchcock is in the middle of a chapter of Psycho | 0:07:40 | 0:07:43 | |
when Alma rudely interrupts him. | 0:07:43 | 0:07:45 | |
This could be the one, Hitch. | 0:07:48 | 0:07:51 | |
I'll read it later. | 0:07:51 | 0:07:53 | |
But now, he's reading from the start of the chapter. | 0:07:53 | 0:07:57 | |
-I sometimes have to reread things if I'm interrupted. -Re-reading, eh? | 0:07:57 | 0:08:00 | |
That's just showing off twice. | 0:08:00 | 0:08:02 | |
Here's Hitch in a napkin, reading a paper | 0:08:05 | 0:08:07 | |
-and displaying terrible table manners. -I can't see anything wrong. | 0:08:07 | 0:08:12 | |
I forgot to tell you... | 0:08:12 | 0:08:14 | |
Well, look, the paper's gone and he takes off his napkin. | 0:08:14 | 0:08:17 | |
But here they're both back. | 0:08:20 | 0:08:22 | |
And just to confuse and alienate Alma, they're both gone again! | 0:08:23 | 0:08:27 | |
Well, the actual mistake here is that he only sips at the wine. | 0:08:29 | 0:08:32 | |
He should drink it all before it goes off. | 0:08:32 | 0:08:34 | |
The biggest mystery in the now overstretched | 0:08:38 | 0:08:42 | |
and underwhelming Bourne series | 0:08:42 | 0:08:44 | |
is not who Jason Bourne is, | 0:08:44 | 0:08:46 | |
or why he turns into Jeremy Renner, | 0:08:46 | 0:08:48 | |
but how the anyone missed this woman's glasses | 0:08:48 | 0:08:50 | |
appearing out of nowhere. | 0:08:50 | 0:08:53 | |
Specs-less. | 0:08:53 | 0:08:55 | |
Specs-ful. Brilliant. | 0:08:55 | 0:08:58 | |
She's not pulling this off on her own. Who the hell is helping her? | 0:08:58 | 0:09:01 | |
Now, I'd be the last person you'd think would enjoy | 0:09:03 | 0:09:05 | |
a high school movie about a cappella groups. | 0:09:05 | 0:09:08 | |
-No, you wouldn't. -I'm not shocked. | 0:09:08 | 0:09:11 | |
But check out the smart and sassy Pitch Perfect. | 0:09:11 | 0:09:14 | |
See how there's no-one sat behind the judges. | 0:09:14 | 0:09:17 | |
Well, now, there are two people and in just a tick, | 0:09:17 | 0:09:19 | |
there's only one of them. | 0:09:19 | 0:09:21 | |
And he's moved seats. | 0:09:21 | 0:09:23 | |
Undecided about how to wear your hair in the finals of a high school | 0:09:25 | 0:09:29 | |
a cappella music competition? | 0:09:29 | 0:09:30 | |
-Always. -So, do as Aubrey does. Wear it up... | 0:09:30 | 0:09:34 | |
..then down... | 0:09:40 | 0:09:42 | |
-..then up again! -Genius, thanks, Matthew. | 0:09:44 | 0:09:48 | |
-Tom, you don't have any hair. -Not on my head. | 0:09:48 | 0:09:52 | |
Yes! It's time for action thriller Jack Reacher. | 0:09:56 | 0:09:59 | |
I bloomin' love this film. | 0:09:59 | 0:10:01 | |
Out of the car! | 0:10:01 | 0:10:03 | |
Jack Reacher's my third favourite Jack after Daniels and E Collins. | 0:10:03 | 0:10:08 | |
Now, Jack's first concern in any high-speed car chase is safety. | 0:10:08 | 0:10:12 | |
See this Pennsylvania car safety inspection sticker? | 0:10:12 | 0:10:16 | |
The date on it starts off as September 2012. | 0:10:16 | 0:10:18 | |
But that nine soon changes itself to a six. | 0:10:20 | 0:10:23 | |
And then to a blurry eight. | 0:10:25 | 0:10:27 | |
Then seven. | 0:10:30 | 0:10:31 | |
And then back to nine. | 0:10:34 | 0:10:35 | |
Meaning he has his car safety-inspected a whopping | 0:10:37 | 0:10:40 | |
five times in just the one - admittedly far too long - chase. | 0:10:40 | 0:10:44 | |
The great thing about this show is that it can really ruin | 0:10:44 | 0:10:47 | |
action films for you on a more-or-less permanent basis. | 0:10:47 | 0:10:52 | |
You're welcome. | 0:10:52 | 0:10:53 | |
Now, look at this parking meter. | 0:11:00 | 0:11:03 | |
At first, it's a ten-hour limit. | 0:11:03 | 0:11:06 | |
Then it's just 30 minutes. | 0:11:06 | 0:11:08 | |
He really is a law unto himself. | 0:11:08 | 0:11:11 | |
-By "he", do you mean the continuity guy? -Sure. | 0:11:11 | 0:11:15 | |
It's you, the guy from the car. | 0:11:18 | 0:11:21 | |
-This bad guy plays by no rules, not even the rules of time. -How's that? | 0:11:21 | 0:11:26 | |
Check out his phone. | 0:11:26 | 0:11:28 | |
-Are you hurt? -No, she's going to be if you're not here in one hour. | 0:11:29 | 0:11:33 | |
The duration of the phone call changes from the mid-20s | 0:11:33 | 0:11:37 | |
to the low 10s. | 0:11:37 | 0:11:39 | |
It's perverse. | 0:11:39 | 0:11:41 | |
It's time for the awesome Iron Man 3 and my lifetime hero, Tony Stark. | 0:11:47 | 0:11:53 | |
Don't get too upset by this, Ben, | 0:11:53 | 0:11:54 | |
but it's not quite an ironclad addition to the movie franchise. | 0:11:54 | 0:11:58 | |
What?! | 0:11:58 | 0:11:59 | |
See this young lady? She takes off his glasses | 0:11:59 | 0:12:02 | |
and without turning them round, places them on her face! | 0:12:02 | 0:12:06 | |
No wonder he looks so confused. | 0:12:06 | 0:12:08 | |
The great thing about films is they can teach us so much. | 0:12:12 | 0:12:15 | |
Yeah, for example, Forrest Gump taught me | 0:12:15 | 0:12:17 | |
that it's wise to invest early in shrimp restaurants. | 0:12:17 | 0:12:20 | |
And Schindler's List taught me | 0:12:20 | 0:12:22 | |
that a splash of red can really make an outfit stand out in a crowd. | 0:12:22 | 0:12:26 | |
What I meant was even movie mistakes can afford us a life lesson or two. | 0:12:26 | 0:12:29 | |
-Shall we take a look? -Yeah. | 0:12:29 | 0:12:31 | |
I didn't blow my shrimp fortune on a massive telly to not watch it. | 0:12:31 | 0:12:36 | |
Another error from the gripping Argo. | 0:12:40 | 0:12:43 | |
Have a read of the important stuff here. | 0:12:43 | 0:12:46 | |
I'm presuming you mean the factual epilogue to this quite serious film. | 0:12:46 | 0:12:49 | |
Not at all, Matthew. | 0:12:49 | 0:12:51 | |
That child has wrongly labelled his Star Wars figures. | 0:12:51 | 0:12:55 | |
The Jawa and Sand People | 0:12:55 | 0:12:56 | |
figurines are under each other's | 0:12:56 | 0:12:58 | |
labels on this display stand. | 0:12:58 | 0:13:00 | |
What a moron! | 0:13:00 | 0:13:01 | |
Ah, Skyfall, properly exciting but littered with mistakes. | 0:13:11 | 0:13:14 | |
Take a look at this MP in the grey floral dress. | 0:13:15 | 0:13:18 | |
There she goes, scrambling for cover. But wait! | 0:13:18 | 0:13:22 | |
She's sat back down again. | 0:13:22 | 0:13:23 | |
Eh? | 0:13:24 | 0:13:26 | |
Is that what you want? | 0:13:34 | 0:13:36 | |
Another Iron Man 3 misfire with Downey Jr and some specs. | 0:13:36 | 0:13:40 | |
Definitely not wearing any here, and now they're back on. | 0:13:42 | 0:13:46 | |
Stark obeys no rules. | 0:13:46 | 0:13:48 | |
Oh, and not exactly a mistake, | 0:13:48 | 0:13:49 | |
but that reporter should hold his phone horizontally. | 0:13:49 | 0:13:52 | |
That footage is going to be useless. | 0:13:52 | 0:13:54 | |
I'm going to come get the body. | 0:13:54 | 0:13:56 | |
There's no politics here, it's just good old-fashioned revenge. | 0:13:56 | 0:13:59 | |
Here's something it's perfectly normal to have | 0:14:05 | 0:14:07 | |
noticed in the gut-wrenchingly emotional Flight. | 0:14:07 | 0:14:09 | |
-Check out Whip's eye. -I see it. Bloodshot as you might expect. | 0:14:09 | 0:14:14 | |
-But what now, Tom? -Crikey, it's normal! | 0:14:16 | 0:14:20 | |
That's American healthcare for you. | 0:14:20 | 0:14:22 | |
And all for the mere cost of his family home. | 0:14:22 | 0:14:25 | |
I assure you, Geoffrey, my murders are always models of taste | 0:14:31 | 0:14:36 | |
and discretion. | 0:14:36 | 0:14:37 | |
The decent character piece Hitchcock again | 0:14:37 | 0:14:39 | |
-and this stenographer's padding the keys like nobody's business. -Ha! | 0:14:39 | 0:14:43 | |
That's not how stenographising looks. | 0:14:43 | 0:14:47 | |
She should be moving her fingers individually. | 0:14:47 | 0:14:49 | |
Yeah, Ben, that's how you type. | 0:14:49 | 0:14:51 | |
Guys, don't you hate photo booths? | 0:14:58 | 0:15:01 | |
They always seem to charge you at least £1.50 more than they say. | 0:15:01 | 0:15:04 | |
What's worse is when they print a different photo to what's | 0:15:04 | 0:15:07 | |
happening in reality. | 0:15:07 | 0:15:09 | |
In the totally average On The Road, | 0:15:09 | 0:15:11 | |
the boys are in a different position in the photo that gets printed. | 0:15:11 | 0:15:13 | |
See this expression? | 0:15:13 | 0:15:15 | |
No wonder they chopped it up. | 0:15:15 | 0:15:17 | |
Django Unchained, unmistakably Tarantino. | 0:15:25 | 0:15:28 | |
Here, Django earns his freedom via a game of hat-tossing. | 0:15:28 | 0:15:31 | |
-You've not seen this film, have you? -No, I've not, my mum won't let me. | 0:15:31 | 0:15:35 | |
See how the hat is resting at approximately 43 degrees? | 0:15:35 | 0:15:40 | |
43, 44, yeah. | 0:15:40 | 0:15:43 | |
-Well, now, it's back totally level. -Amazing! | 0:15:43 | 0:15:47 | |
Django, claim your freedom! | 0:15:47 | 0:15:49 | |
The bad thing about movies is if you watch a terrible one you can't get the time back. | 0:15:58 | 0:16:01 | |
True, that. | 0:16:01 | 0:16:03 | |
I wrote to Ben Affleck after I watched Pearl Harbor | 0:16:03 | 0:16:06 | |
demanding that he send me back three hours plus interest. | 0:16:06 | 0:16:10 | |
-He never replied! -What were you expecting he'd send? | 0:16:10 | 0:16:14 | |
Three and a half hours. | 0:16:14 | 0:16:16 | |
Maybe a bit more, according to the exchange rate. | 0:16:16 | 0:16:19 | |
I was very disappointed by Gone In 60 Seconds. | 0:16:19 | 0:16:22 | |
Way longer than advertised. | 0:16:22 | 0:16:23 | |
I think that's the time it took them to write the script. | 0:16:23 | 0:16:26 | |
ALL: Hey-o! | 0:16:26 | 0:16:28 | |
Actually, I was pleasantly surprised by The NeverEnding Story. | 0:16:28 | 0:16:32 | |
Slightly alarmist title, that one. | 0:16:32 | 0:16:34 | |
So, as a public service, we've trawled through the world's | 0:16:34 | 0:16:37 | |
worst films and highlighted the mistakes so you don't have to. | 0:16:37 | 0:16:41 | |
Yippie-ki-yay, Mother Hubbard. | 0:16:41 | 0:16:44 | |
-Good old Brucie as John McClane, can't go wrong. -I beg to differ. | 0:16:45 | 0:16:49 | |
Look at the car window - open. | 0:16:49 | 0:16:53 | |
Then closed. | 0:16:53 | 0:16:54 | |
That's about as wrong as it gets, mate. | 0:16:54 | 0:16:57 | |
Check out this packed courtroom. | 0:17:00 | 0:17:02 | |
I had a similar turn out when I was in court for my naked rambling. | 0:17:02 | 0:17:05 | |
Yeah, you really shouldn't have rambled nude | 0:17:05 | 0:17:07 | |
-through the packed courtroom, Ben. -So it transpired. | 0:17:07 | 0:17:11 | |
Oh, my days, it's a triple car bomb! Pe-eow, pe-eow, pe-eow! | 0:17:11 | 0:17:14 | |
Don't worry, through the medium of continuity errors, | 0:17:14 | 0:17:17 | |
everyone in the courtroom has miraculously escaped. | 0:17:17 | 0:17:21 | |
-Except for that guard. -Don't worry, he gets shot. -Yay. | 0:17:21 | 0:17:25 | |
Pay close attention and you'll see it. | 0:17:30 | 0:17:32 | |
There it is, proof that A Good Day To Die Hard was in fact | 0:17:33 | 0:17:37 | |
a film filmed by a crew. | 0:17:37 | 0:17:40 | |
Cor, you've really lifted the lid on that one(!) | 0:17:40 | 0:17:42 | |
You're welcome. | 0:17:42 | 0:17:44 | |
What is it with old people and phones? | 0:17:47 | 0:17:49 | |
They just can't work them properly. | 0:17:49 | 0:17:51 | |
I'd argue this old lad is actually quite impressive. | 0:17:51 | 0:17:53 | |
He successfully made an outgoing call while still on the dialling screen. | 0:17:53 | 0:17:58 | |
Either that, or he's having | 0:17:58 | 0:17:59 | |
a full-blown discussion with the voices in his head - | 0:17:59 | 0:18:02 | |
in which case, that whole scene is just really upsetting. | 0:18:02 | 0:18:05 | |
Wait for my command to execute... | 0:18:08 | 0:18:10 | |
An all-star cast doesn't make a great film, | 0:18:10 | 0:18:12 | |
as Olympus Has Fallen shows. | 0:18:12 | 0:18:14 | |
What ruins it for me is this. | 0:18:14 | 0:18:16 | |
Even I know the plural of terrorist isn't terrorist! | 0:18:17 | 0:18:21 | |
Go on, then. What is it, then? | 0:18:21 | 0:18:23 | |
Terrori? | 0:18:23 | 0:18:25 | |
The most protected building on earth. | 0:18:25 | 0:18:27 | |
In After Earth, our planet's now host to giant creatures. | 0:18:30 | 0:18:33 | |
And camera cranes. | 0:18:33 | 0:18:35 | |
Ah, yes, and camera cranes, | 0:18:35 | 0:18:36 | |
one of which reveals itself with its shadow. | 0:18:36 | 0:18:39 | |
This really is a slow and tedious film. Let's move on. Quick! | 0:18:39 | 0:18:43 | |
Judd Apatow goes grown-up at the request of absolutely | 0:18:48 | 0:18:51 | |
no-one, in the coarse and plot-less This Is 40. | 0:18:51 | 0:18:53 | |
-It's just a bunch of guys that get together and ride. -I know, I know. | 0:18:53 | 0:18:56 | |
But watch, as Barry heckles the dangerous driver. | 0:18:56 | 0:19:01 | |
The car disappears! | 0:19:01 | 0:19:03 | |
-You want to see pictures of the kids? -Oh, yeah! | 0:19:06 | 0:19:08 | |
Hooray! 3rd Rock From The Sun! | 0:19:10 | 0:19:12 | |
John Lithgow's done much more than that, Ben. | 0:19:12 | 0:19:14 | |
-He's a Shakespearean actor. -Yes, but that mobile is clearly upside-down. | 0:19:14 | 0:19:19 | |
Is he playing "Man Who Can't Use an iPhone Properly" from Hamlet? | 0:19:21 | 0:19:25 | |
That sixth form update of Hamlet you did was NOT the definitive version! | 0:19:25 | 0:19:29 | |
As we all know, Americans are only capable of driving automatic vehicles. | 0:19:32 | 0:19:36 | |
They also can't handle roundabouts. | 0:19:36 | 0:19:39 | |
But to make things tricky, Pete and Debbie are driving whilst their | 0:19:39 | 0:19:43 | |
car is in park mode, when the thing shouldn't be able to move at all! | 0:19:43 | 0:19:47 | |
-Bit of a nonstarter all round, this movie. -Boring. | 0:19:47 | 0:19:51 | |
-What does he have you doing? -Nothin', baby... | 0:19:53 | 0:19:56 | |
If you're one of the 11 people who have seen Stolen, I can only | 0:19:56 | 0:20:00 | |
offer you my condolences. | 0:20:00 | 0:20:01 | |
It is not strong, though it does mark a milestone | 0:20:01 | 0:20:05 | |
in that it is Nicolas Cage's ten millionth film! | 0:20:05 | 0:20:08 | |
But it does have this blunder. Here, Cage knocks this guy off his stool... | 0:20:08 | 0:20:13 | |
MAN GROANS | 0:20:14 | 0:20:16 | |
And now, somehow, the stool is back upright. | 0:20:16 | 0:20:19 | |
You tell me where she is | 0:20:19 | 0:20:21 | |
or I'll blow your lunch all over this carpet. | 0:20:21 | 0:20:24 | |
Yeah, honestly, don't see this film. | 0:20:24 | 0:20:26 | |
Here's where Stolen goes from savagely mediocre to really gross. | 0:20:30 | 0:20:33 | |
Nicolas Cage escapes from his handcuffs using | 0:20:33 | 0:20:36 | |
the time-honoured method of dislocating his left thumb. | 0:20:36 | 0:20:39 | |
Oi, nasty! | 0:20:39 | 0:20:41 | |
Hello. I'm here... | 0:20:46 | 0:20:49 | |
Then, after a preposterous double car crash, | 0:20:49 | 0:20:51 | |
he gets out of the car and resets his RIGHT thumb. | 0:20:51 | 0:20:55 | |
Or possibly also dislocates it for fun. Who knows? | 0:20:55 | 0:20:58 | |
Really comin' down to the wire on this one. | 0:20:58 | 0:21:00 | |
It's the ghastly and unwanted Sweeney movie. | 0:21:03 | 0:21:06 | |
Now, we've seen over-keen extras in films, | 0:21:06 | 0:21:09 | |
but it's a bit much when the extra is St Paul's Cathedral. | 0:21:09 | 0:21:13 | |
-See it here? -Yep. | 0:21:13 | 0:21:15 | |
Ah, yes, it also pops up later on the other side of the car here. | 0:21:15 | 0:21:19 | |
They also seem to be driving along the same bridge for absolutely ages. | 0:21:20 | 0:21:24 | |
What secret massive bridge are they using? | 0:21:24 | 0:21:26 | |
The one next to the two St Paul's Cathedrals, I guess. | 0:21:26 | 0:21:29 | |
Sharknado, a concept so daft Ben could have come up with it. | 0:21:32 | 0:21:36 | |
You say that, but I still haven't attracted any funding | 0:21:36 | 0:21:38 | |
for Goatpocalypse Now. | 0:21:38 | 0:21:40 | |
Thank God for that. | 0:21:40 | 0:21:41 | |
Now, searching for mistakes in this is like shooting fish in a barrel, | 0:21:41 | 0:21:45 | |
which is probably the way the special effects were filmed. | 0:21:45 | 0:21:48 | |
Here we see a house clearly massively flooded | 0:21:48 | 0:21:50 | |
and sharks are swimming all over the place, | 0:21:50 | 0:21:53 | |
which really begs the question of how they opened the door! | 0:21:53 | 0:21:56 | |
And why the water level outside is almost nonexistent. | 0:21:56 | 0:21:59 | |
And how they managed to close the door again. | 0:21:59 | 0:22:02 | |
And why there are sharks in tornadoes! | 0:22:02 | 0:22:05 | |
And what Tara Reid did to her once promising career. | 0:22:06 | 0:22:10 | |
Great news, guys! | 0:22:10 | 0:22:11 | |
She's just signed up for Goatpocalypse Now! | 0:22:11 | 0:22:13 | |
Everybody out of the pool! | 0:22:16 | 0:22:17 | |
In a film with amazingly ropey special effects, | 0:22:17 | 0:22:20 | |
it's remarkable that they wasted money on this effect | 0:22:20 | 0:22:23 | |
that makes absolutely no sense. | 0:22:23 | 0:22:25 | |
Specifically, that Connect Four game. | 0:22:25 | 0:22:28 | |
-Is one of the reds actually floating in mid-air? -Yes, Tom, it is. | 0:22:28 | 0:22:33 | |
Great work, art department(!) | 0:22:33 | 0:22:34 | |
Every generation of movie mistakers | 0:22:44 | 0:22:47 | |
is defined by one or two individuals. | 0:22:47 | 0:22:51 | |
Actors who care not for continuity errors or brush aside anachronisms. | 0:22:51 | 0:22:56 | |
No, these actors take the bull by the horns | 0:22:56 | 0:23:00 | |
and hold it the wrong way round. | 0:23:00 | 0:23:02 | |
Inside The Clunkers Studio is proud to welcome a master mistaker. | 0:23:03 | 0:23:09 | |
Ladies, and indeed gentlemen, please welcome | 0:23:09 | 0:23:13 | |
Mr Bruce Willis. | 0:23:13 | 0:23:15 | |
CHEERING AND APPLAUSE | 0:23:15 | 0:23:16 | |
-Bruce. -James. | 0:23:16 | 0:23:18 | |
Bruce, could you share with us your memory of your first movie mistake? | 0:23:20 | 0:23:24 | |
I guess that would be Die Hard 2: Die Harder. | 0:23:24 | 0:23:28 | |
CHEERING AND APPLAUSE | 0:23:28 | 0:23:31 | |
What a tour de force, | 0:23:31 | 0:23:32 | |
and I'm sure we all know all too well the scene in question. | 0:23:32 | 0:23:36 | |
But how does one prepare for playing a role in the middle of winter | 0:23:36 | 0:23:40 | |
-when it's actually summer? -It was easy. -You make it look easy. | 0:23:40 | 0:23:44 | |
No, no, it was easy. | 0:23:44 | 0:23:46 | |
I mean, they just don't bother to hide that it's sunny outside | 0:23:46 | 0:23:49 | |
and then sprinkle a bit of fake snow on my jacket. | 0:23:49 | 0:23:52 | |
Such skill, and there are snowless green trees, | 0:23:54 | 0:23:57 | |
an allegory for hope perhaps? | 0:23:57 | 0:23:59 | |
Perhaps. | 0:24:00 | 0:24:02 | |
Now, if I may, I'd like to talk about your comedic exploits | 0:24:02 | 0:24:05 | |
in the sublime and clever Death Becomes Her. | 0:24:05 | 0:24:08 | |
CHEERING AND APPLAUSE | 0:24:08 | 0:24:11 | |
How was it performing a comedic role | 0:24:11 | 0:24:15 | |
alongside two of the world's most beloved actresses? | 0:24:15 | 0:24:20 | |
Well, I had a moustache, so I felt funnier. | 0:24:20 | 0:24:23 | |
Filming it was a lot of fun, though. | 0:24:25 | 0:24:27 | |
I mean, there were times where I had to literally just run onto set | 0:24:27 | 0:24:31 | |
even before the make-up artist had finished with me. | 0:24:31 | 0:24:34 | |
Ah, yes, here we can see the greyish make-up ending on your jaw line, | 0:24:34 | 0:24:38 | |
-absolutely fabulous. -Yeah. | 0:24:38 | 0:24:40 | |
And there's me opening a door from the left side. | 0:24:40 | 0:24:44 | |
But on the other side, | 0:24:44 | 0:24:46 | |
the door knob is still on the left when it should be on the right! | 0:24:46 | 0:24:49 | |
It's inspirational! | 0:24:49 | 0:24:50 | |
Yeah, I spend a lot of time on set swapping hinges on doors. | 0:24:52 | 0:24:57 | |
I'd like you to share with us your feelings about the inimitable | 0:24:57 | 0:25:00 | |
Last Boy Scout. | 0:25:00 | 0:25:02 | |
CHEERING AND APPLAUSE | 0:25:02 | 0:25:04 | |
Yeah, I had to work really hard to get a blooper in on that one. | 0:25:06 | 0:25:10 | |
There was one scene where I had to be unconscious, | 0:25:10 | 0:25:13 | |
so I thought, "Bruce, how can you do something here?" | 0:25:13 | 0:25:17 | |
So, I just tried really hard to not look unconscious. | 0:25:17 | 0:25:22 | |
You can see, I'm being helped into a car by some thugs, and I use my legs. | 0:25:22 | 0:25:27 | |
And that's not the only mistake in the film, is it? | 0:25:28 | 0:25:32 | |
No, er, there's a member of the crew in the background with a ladder. | 0:25:32 | 0:25:36 | |
It wasn't me, so I had him fired. | 0:25:37 | 0:25:40 | |
There he is in the background to the right. | 0:25:40 | 0:25:42 | |
As it wasn't me committing the mistake, | 0:25:42 | 0:25:44 | |
I had it removed off the Blu-ray version. | 0:25:44 | 0:25:47 | |
Oh, Bruce. Let's take a question from the audience. | 0:25:48 | 0:25:52 | |
Good evening, Mr Willis, | 0:25:54 | 0:25:55 | |
-my name's Robert Hoppleby, I'm a second-year actor. -So? | 0:25:55 | 0:25:59 | |
In a career riddled with mistakes, | 0:25:59 | 0:26:02 | |
are there any that your public are yet to discover? | 0:26:02 | 0:26:05 | |
I'm very glad you asked that question | 0:26:05 | 0:26:07 | |
because actually there is a mistake that nobody's ever seen, | 0:26:07 | 0:26:12 | |
it's very dear to my heart and I'd like to share it with you this evening. | 0:26:12 | 0:26:15 | |
Ladies and gentlemen, another first for Inside The Clunkers Studio. | 0:26:15 | 0:26:18 | |
APPLAUSE | 0:26:18 | 0:26:21 | |
Last year, I was in a little film, some of you might have seen it, | 0:26:21 | 0:26:25 | |
it was called Looper. | 0:26:25 | 0:26:27 | |
AWKWARD SILENCE | 0:26:27 | 0:26:30 | |
Let's take a look. | 0:26:30 | 0:26:31 | |
Here I am in a scene with a lesser actor. | 0:26:32 | 0:26:36 | |
Watch very closely as the waitress brings us things. | 0:26:36 | 0:26:39 | |
I'm having difficulty taking my eyes off your own performance, Bruce. | 0:26:39 | 0:26:44 | |
Yeah, but look, there. | 0:26:44 | 0:26:45 | |
-Suddenly the coffee and water appear out of nowhere. -Brilliant! | 0:26:45 | 0:26:50 | |
Yeah, I had them hidden in my lap and then I popped them out | 0:26:50 | 0:26:55 | |
when they changed shot. They asked if they could re-shoot, but I refused. | 0:26:55 | 0:27:01 | |
-Truly masterful. -Yeah, but there's more. | 0:27:01 | 0:27:04 | |
-That so-called Jason Gordon-Levitt? Is that his name? -Yep. | 0:27:04 | 0:27:10 | |
-They tried to make him look like me. -Oh, he's a lucky man. | 0:27:10 | 0:27:13 | |
Yeah, the make-up artist tried really hard but the thing is, | 0:27:13 | 0:27:17 | |
I have lobed ears whereas he does not. | 0:27:17 | 0:27:21 | |
Ah, yes, but I suppose nothing could be done about that. | 0:27:21 | 0:27:24 | |
That's where you're wrong, James. He used to have lobed ears. | 0:27:24 | 0:27:28 | |
In fact, they were identical to mine, | 0:27:28 | 0:27:30 | |
but I forced him to have them sewn up. | 0:27:30 | 0:27:34 | |
-Such creativity. -Yeah. | 0:27:34 | 0:27:37 | |
Such a lot of pain for such an inconsequential thing. | 0:27:37 | 0:27:41 | |
Bruce Willis, we thank you. | 0:27:41 | 0:27:43 | |
CHEERING AND APPLAUSE | 0:27:43 | 0:27:45 | |
Can you pay me in cash? | 0:27:45 | 0:27:47 | |
And that's your lot. | 0:27:52 | 0:27:54 | |
See you soon for some more... | 0:27:54 | 0:27:57 |