Browse content similar to Episode 5. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
There was once a noble quest undertaken by Tommo and Ben, | 0:00:02 | 0:00:04 | |
two hairy men from the Midlands, and Matthew, the painfully white. | 0:00:04 | 0:00:10 | |
Bravely, they sought out motion picture mishaps, | 0:00:10 | 0:00:13 | |
cinematic screw ups and filmic failures. | 0:00:13 | 0:00:17 | |
They travelled as far as Odeon and through the many caverns of Vue. | 0:00:17 | 0:00:22 | |
But they have returned with their prey, | 0:00:22 | 0:00:24 | |
captured on shiny golden rings known as DVDs. | 0:00:24 | 0:00:29 | |
Fine, fine, I know they're not gold but... | 0:00:29 | 0:00:32 | |
Join them now as they celebrate great movie mistakes. | 0:00:32 | 0:00:38 | |
Hello and welcome to great movie mistakes. We're Pappy's, I'm Matthew. | 0:00:40 | 0:00:44 | |
-I'm Tom. -And he's Matthew. -Thanks, Ben. | 0:00:44 | 0:00:47 | |
Tonight in our flat, we'll be taking you through some of cinema's biggest howlers. | 0:00:47 | 0:00:51 | |
Howlers? What, like Jacob in Twilight? | 0:00:51 | 0:00:53 | |
HE HOWLS | 0:00:53 | 0:00:55 | |
-Too literal, Ben. -We'll be looking through clip after clip of movie mistakes, | 0:00:55 | 0:00:58 | |
-a catalogue of embarrassing errors. -Sounds like your love life. | 0:00:58 | 0:01:02 | |
We've identified the problem, no matter how laughably small. | 0:01:02 | 0:01:05 | |
-Sounds exactly like your love life. -So I've got heaps of DVDs. | 0:01:05 | 0:01:09 | |
I've got mounds of snacks. | 0:01:09 | 0:01:10 | |
-I've got piles. -Let's get cracking. | 0:01:10 | 0:01:13 | |
-This'll surprise you guys but I'm actually a bit of a nerd. -Stop it. | 0:01:17 | 0:01:21 | |
-No, all true, all true. -It's all right, Matthew. | 0:01:21 | 0:01:24 | |
It's actually pretty cool nowadays to be a nerd. | 0:01:24 | 0:01:26 | |
Yeah, in fact, coming up next, we've got | 0:01:26 | 0:01:28 | |
a whole section dedicated to movie mistakes that happen in nerdy films. | 0:01:28 | 0:01:31 | |
Oh, fantastic! | 0:01:31 | 0:01:33 | |
Is there anything from the biopic of George de Mestral, | 0:01:33 | 0:01:35 | |
the inventor of Velcro? | 0:01:35 | 0:01:37 | |
Or from the 1970s documentary Velcro Wars, | 0:01:37 | 0:01:39 | |
about the golden age of the Velcro industry? | 0:01:39 | 0:01:42 | |
Erm... | 0:01:42 | 0:01:44 | |
-No. -No. | 0:01:44 | 0:01:47 | |
It's like comic book stuff and sci-fi and things. | 0:01:47 | 0:01:51 | |
Oh. That's actually fairly mainstream these days. | 0:01:53 | 0:01:56 | |
Certainly nothing about Velcro. | 0:01:56 | 0:02:00 | |
-You massive nerd. -Yeah, nerd. | 0:02:00 | 0:02:04 | |
It's blood-sucking vampire Bella in the ever-rancid | 0:02:06 | 0:02:09 | |
-and ghastly Twilight series. -Hey! | 0:02:09 | 0:02:12 | |
You're just bitter because you're Team Jacob and she picked Edward. | 0:02:12 | 0:02:15 | |
-What? Spoiler alert! -Here's a spoiler, boyos. | 0:02:15 | 0:02:19 | |
-Look at the page from the Merchant of Venice. -Yeah, I see it. | 0:02:19 | 0:02:23 | |
Just a regular smudge-free page. | 0:02:23 | 0:02:25 | |
-But wait, where did those smudges come from? -Smudgetastic. | 0:02:29 | 0:02:33 | |
This fight scene is the one redeeming feature of all five Twilight films. | 0:02:38 | 0:02:42 | |
Or is it? | 0:02:42 | 0:02:44 | |
-Because even this epic scene has a movie mistake. -No! | 0:02:44 | 0:02:47 | |
Afraid so, Tom. | 0:02:52 | 0:02:53 | |
Look, there she is with high heels, just as Edward hurls | 0:02:53 | 0:02:56 | |
her in one of Twilight's many potent feminist moments. | 0:02:56 | 0:02:59 | |
-And now, flat boots. -Oh, I give up. | 0:03:01 | 0:03:05 | |
Spooky things in the mediocre and lacklustre horror, Dark Skies. | 0:03:10 | 0:03:15 | |
Daniel's got a new job, hence the flowers. | 0:03:15 | 0:03:17 | |
We need to celebrate for a change. | 0:03:17 | 0:03:19 | |
Hey, where did they go? | 0:03:22 | 0:03:24 | |
Either she dropped them, or she tucked them into his jeans | 0:03:24 | 0:03:27 | |
so they could snog. | 0:03:27 | 0:03:29 | |
Let's celebrate. | 0:03:29 | 0:03:30 | |
And now he's got them again, somehow. | 0:03:30 | 0:03:33 | |
Though Mr Ratner is a portly man, he's clearly an elite martial artist. | 0:03:39 | 0:03:44 | |
Few have mastered the mobius hand punch, | 0:03:44 | 0:03:47 | |
in which you start punching someone with your right hand | 0:03:47 | 0:03:49 | |
and finish with your left. | 0:03:49 | 0:03:52 | |
Impressive. | 0:03:52 | 0:03:53 | |
Dredd was a well made, violent, | 0:03:57 | 0:03:58 | |
but fan pleasing interpretation of the strip. | 0:03:58 | 0:04:01 | |
As mega fans know, | 0:04:01 | 0:04:02 | |
Dredd's never seen without his helmet or without his gun. | 0:04:02 | 0:04:06 | |
Well, helmet is fully intact there. Stallone, take note. | 0:04:06 | 0:04:11 | |
Where's his gun? | 0:04:11 | 0:04:13 | |
Phew, there it is. Franchise nearly ruined there. | 0:04:13 | 0:04:17 | |
Move. | 0:04:21 | 0:04:23 | |
Four mean-looking thugs walking down a hallway. | 0:04:25 | 0:04:27 | |
Hang on, is this a clip from Dredd or an old music video from Blue? | 0:04:27 | 0:04:31 | |
-Cracking reference, Tom. -Agreed. | 0:04:33 | 0:04:36 | |
Point is, there are now only three of them. | 0:04:36 | 0:04:39 | |
Lee Ryan probably got confused looking at his reflection | 0:04:39 | 0:04:41 | |
in a broken window. | 0:04:41 | 0:04:42 | |
Handcuffs in the future are brilliant. | 0:04:46 | 0:04:48 | |
-Brilliantly accommodating, that is. -Wey-hey! | 0:04:48 | 0:04:51 | |
There they go, becoming invisible... And moving apart. | 0:04:55 | 0:04:59 | |
Like my parents. | 0:04:59 | 0:05:01 | |
Dredd's not a lawman of the future, but the past. | 0:05:05 | 0:05:09 | |
Pause here and you see this shot of old stony face in action. | 0:05:09 | 0:05:13 | |
But wind back exactly an hour and you get exactly the same moment again. | 0:05:13 | 0:05:17 | |
Cor, and they complain about there being too many repeats on TV. | 0:05:17 | 0:05:21 | |
Yeah, I saw this movie four times in one day, | 0:05:21 | 0:05:25 | |
in the same cinema. | 0:05:25 | 0:05:27 | |
Unbelievable. | 0:05:27 | 0:05:28 | |
It's Peter Jackson's rather expected return to Middle Earth with | 0:05:32 | 0:05:36 | |
the far too long and eked out The Hobbit: An Unexpected Journey. | 0:05:36 | 0:05:40 | |
Check it out, guys. | 0:05:40 | 0:05:42 | |
Here's Bilbo with his hand on the door. | 0:05:42 | 0:05:45 | |
-Now it's by his side. -Hmmm. | 0:05:45 | 0:05:48 | |
Well, that's not a massive mistake. | 0:05:48 | 0:05:50 | |
Yeah, well he is tiny. | 0:05:50 | 0:05:53 | |
Who said? | 0:05:53 | 0:05:54 | |
I'm not afraid. I'm up for it. | 0:05:57 | 0:05:59 | |
I'll give him a taste of dwarfish iron right up his jacksie! | 0:05:59 | 0:06:03 | |
James Nesbitt here as Bofur, the cheeky dwarf. | 0:06:03 | 0:06:06 | |
Look at him leaning forward with his pipe out of his mouth | 0:06:06 | 0:06:09 | |
and now leaning against the wall with his pipe in his mouth. | 0:06:09 | 0:06:13 | |
Classic Murphy's law. | 0:06:13 | 0:06:15 | |
Even the sharpest amongst us have experienced moments of idiocy. | 0:06:20 | 0:06:24 | |
Erm, I haven't. | 0:06:24 | 0:06:26 | |
You still developing that range of asbestos balaclavas, Ben? | 0:06:26 | 0:06:29 | |
Sure am, my man. | 0:06:29 | 0:06:31 | |
HE COUGHS | 0:06:31 | 0:06:33 | |
But even Ben at the peak of his powers can't compete with | 0:06:33 | 0:06:36 | |
these pretty awful clunkers we've got coming up. | 0:06:36 | 0:06:38 | |
Some would argue that remaking Total Recall was a moment of idiocy itself. | 0:06:40 | 0:06:45 | |
It's not great. | 0:06:45 | 0:06:46 | |
Colin Farrell sorting through some passports. | 0:06:46 | 0:06:49 | |
-Here's good old Henry Reed. -More like Henty Reed. | 0:06:49 | 0:06:53 | |
Oh, you're right! | 0:06:53 | 0:06:55 | |
Across the bottom of the passport, his name is misspelt. | 0:06:55 | 0:06:57 | |
Amazing spot, Tom. | 0:06:57 | 0:06:59 | |
Damn right! Not just a pretty face and sturdy set of calves. | 0:06:59 | 0:07:03 | |
Also, can I just say, his signature is frankly embarrassing. | 0:07:03 | 0:07:07 | |
Blimey, Argo has more continuity errors than factual errors! | 0:07:16 | 0:07:20 | |
Right, we all know what safety glass being smashed sounds like, yeah? | 0:07:20 | 0:07:24 | |
The crunch of freedom. | 0:07:24 | 0:07:26 | |
-Beg your pardon, Ben? -Nothing. But listen to this... | 0:07:26 | 0:07:29 | |
That's ordinary glass breaking. | 0:07:33 | 0:07:35 | |
So what happens to the seven psychopaths at the end? | 0:07:38 | 0:07:41 | |
I don't know what happens to them at the start. | 0:07:41 | 0:07:44 | |
I loved Seven Psychopaths. | 0:07:44 | 0:07:46 | |
Let me guess, it's got swearing and guns in it. | 0:07:46 | 0:07:49 | |
Actually, it's a sharp metatextual romp | 0:07:49 | 0:07:52 | |
which slyly subverts genre expectations. | 0:07:52 | 0:07:55 | |
-Oh, wow. -And there are some pretty gruesome deaths. -Right. | 0:07:55 | 0:07:59 | |
How about this...? | 0:08:00 | 0:08:02 | |
But the really gruesome thing is the fact that the text here | 0:08:02 | 0:08:05 | |
is repeated here. | 0:08:05 | 0:08:07 | |
Gross. | 0:08:08 | 0:08:09 | |
I'd like to talk to you boys about Hit And Run. | 0:08:13 | 0:08:16 | |
-The film we're currently watching? -What? | 0:08:16 | 0:08:18 | |
Oh, yes. Yes, of course, the film. | 0:08:18 | 0:08:21 | |
-Good, because there are gaffes galore. -Really, Ben? | 0:08:21 | 0:08:24 | |
Yeah, check this out. | 0:08:24 | 0:08:26 | |
Randy is chatting to Charlie on his iPhone and he's only gone | 0:08:26 | 0:08:29 | |
-and held it upside down. -These actors with their challenging jobs. | 0:08:29 | 0:08:34 | |
Look, can't even hold the coffee properly. | 0:08:34 | 0:08:36 | |
That doesn't quite class as a movie mistake. | 0:08:36 | 0:08:39 | |
Hit And Run? More like "miss and run", am I right, boys? | 0:08:48 | 0:08:51 | |
Nicely done, Ben. | 0:08:51 | 0:08:52 | |
-That fist isn't touching him. -No, no, he's a martial artist. | 0:08:52 | 0:08:56 | |
He's mastered the minus one inch punch. | 0:08:56 | 0:09:00 | |
He's mainly hitting him with chi. | 0:09:00 | 0:09:02 | |
-Eight blocks that way. -Good, we're staying here. Let's go. | 0:09:05 | 0:09:09 | |
The smartly character focused Wolverine again. | 0:09:09 | 0:09:12 | |
Now, notice it's daytime when Logan and Mariko go into the love hotel. | 0:09:12 | 0:09:16 | |
Duly noticed. | 0:09:16 | 0:09:17 | |
Well, by the time they've made it up to their room, it's dark as night. | 0:09:17 | 0:09:20 | |
What's up with that? | 0:09:20 | 0:09:22 | |
That's just proved that even the transition from night to day | 0:09:22 | 0:09:25 | |
is more efficient in Japan. | 0:09:25 | 0:09:26 | |
Hai-ya! | 0:09:26 | 0:09:28 | |
-Check out Yukio and that black portfolio she's handed. -Sure. | 0:09:31 | 0:09:35 | |
I can't, princess. I'm a soldier. | 0:09:36 | 0:09:40 | |
Look again, it's gone. | 0:09:40 | 0:09:42 | |
Oh, that's probably just her mutant power. | 0:09:42 | 0:09:44 | |
Making admin disappear. | 0:09:44 | 0:09:47 | |
Actually, her mutant power is foreseeing people's deaths. | 0:09:47 | 0:09:50 | |
-Thanks for bringing the mood down, Matthew. -You're very welcome, sir. | 0:09:50 | 0:09:53 | |
Intelligent and glossy thriller Jack Reacher here. | 0:09:57 | 0:10:00 | |
Now, we all know Tom Cruise is quite a short man | 0:10:00 | 0:10:04 | |
-but this looks ridiculous. -He's just reversing down that dirt path. | 0:10:04 | 0:10:08 | |
But listen, you can hear gears changing! | 0:10:08 | 0:10:11 | |
ENGINE REVS | 0:10:11 | 0:10:13 | |
You can't change gear in reverse. | 0:10:16 | 0:10:18 | |
Unless Cruise has used his millions to pay for multiple reverse gears. | 0:10:18 | 0:10:22 | |
It's the bright and bewildering Looper. | 0:10:26 | 0:10:29 | |
Now, what's seven times eight? Yes, 56. | 0:10:29 | 0:10:32 | |
So why when we change shot has it moved a space on the board? | 0:10:32 | 0:10:37 | |
-How long can you not sleep? -Possibly because the kid is an evil psychic. | 0:10:37 | 0:10:40 | |
I didn't think you mastered Looper that well, Ben, but that's not a bad shout. | 0:10:40 | 0:10:44 | |
A-ha! 56 is back and now we have 21 too. | 0:10:47 | 0:10:51 | |
Good. | 0:10:51 | 0:10:52 | |
Based on his face? Definitely evil and psychic. | 0:10:52 | 0:10:56 | |
Joe? | 0:10:56 | 0:10:57 | |
Now the 21 tile's disappeared and 56 is back in the wrong place. | 0:10:57 | 0:11:02 | |
Do this now, OK? You have 32 there, | 0:11:02 | 0:11:04 | |
I know you know this one. | 0:11:04 | 0:11:07 | |
And then the 21 comes back with the 56 still misplaced as the kid | 0:11:07 | 0:11:10 | |
puts down 32 where 56 should be. | 0:11:10 | 0:11:14 | |
-No, eight times three is what? -32. | 0:11:14 | 0:11:17 | |
Eight times three is what? | 0:11:17 | 0:11:19 | |
Was that in any way worth the agony of rewatching this in such detail? | 0:11:19 | 0:11:24 | |
Not remotely. Oh, hang on, I think I've found another. Go back a sec. | 0:11:24 | 0:11:28 | |
THEY SIGH | 0:11:28 | 0:11:29 | |
There, see? He has a fine set of demonic front teeth. | 0:11:29 | 0:11:35 | |
-Now rewind again. -You'll wear the DVD out! Or something. | 0:11:35 | 0:11:39 | |
Look! Now he's missing one. | 0:11:40 | 0:11:42 | |
I hate child actors. | 0:11:42 | 0:11:44 | |
Like Danny DeVito. | 0:11:44 | 0:11:46 | |
Ben, DeVito's been acting since the '60s. | 0:11:46 | 0:11:48 | |
Great, so he's a prolific child actor. | 0:11:48 | 0:11:52 | |
She's not my mom. | 0:11:52 | 0:11:53 | |
Jim Broadbent as the very British Timothy Cavendish | 0:11:56 | 0:11:59 | |
here in the not entirely successful adaptation of Cloud Atlas. | 0:11:59 | 0:12:03 | |
He's typing a screenplay, and... | 0:12:03 | 0:12:06 | |
pause. | 0:12:06 | 0:12:08 | |
"Labouring" without a U? | 0:12:08 | 0:12:10 | |
Not a very British way of spelling the word, is it, Broadbent? | 0:12:10 | 0:12:14 | |
Maybe he was commenting on this mistake, "la boring". | 0:12:14 | 0:12:17 | |
Which is French for "it's boring". | 0:12:17 | 0:12:19 | |
Now, Mama. The gloomy but visually stunning horror. | 0:12:22 | 0:12:26 | |
There's little I wouldn't do to that bloke from Game Of Thrones. | 0:12:26 | 0:12:29 | |
He's got a jawline carved from marble and he'd make me feel safe. | 0:12:29 | 0:12:34 | |
Wow. Anyway, watch this. | 0:12:34 | 0:12:36 | |
See? It's a carpet tile. The snow isn't real snow. | 0:12:37 | 0:12:42 | |
"Carpet diem", folks. | 0:12:42 | 0:12:43 | |
-Back to sleep, Ben. -Can do. | 0:12:43 | 0:12:46 | |
Now look at the shadows coming towards us | 0:12:50 | 0:12:52 | |
from the sun as Burnsie discovers the cabin. | 0:12:52 | 0:12:56 | |
But what's this? Ha! | 0:12:56 | 0:12:57 | |
A shadow on the door, | 0:12:57 | 0:12:59 | |
which could only have come from something reflecting light. | 0:12:59 | 0:13:03 | |
-Like a tree? -A tree that reflects light? -Could be metal. | 0:13:03 | 0:13:07 | |
There's no such thing as metal trees. | 0:13:07 | 0:13:09 | |
Hello? | 0:13:09 | 0:13:11 | |
A silver birch? | 0:13:11 | 0:13:13 | |
Cracking film here, The Master. | 0:13:17 | 0:13:20 | |
With Joaquin Phoenix and Phillip Seymour Hoffman | 0:13:20 | 0:13:22 | |
doing some impressive heavyweight acting. | 0:13:22 | 0:13:25 | |
Props to the actors. | 0:13:26 | 0:13:29 | |
But not to the props department sadly. | 0:13:29 | 0:13:31 | |
Look at this, Phoenix having a diva-like strop kicks a toilet to | 0:13:31 | 0:13:35 | |
pieces but no water comes out. | 0:13:35 | 0:13:37 | |
Hoffman does not look impressed. | 0:13:38 | 0:13:40 | |
Hi, guys, Ben here. | 0:13:46 | 0:13:49 | |
I'd just like to remind everyone that not all films have to be | 0:13:49 | 0:13:53 | |
intellectual. They don't all need a plot or a script. | 0:13:53 | 0:13:58 | |
Sometimes, all you need to have a good time | 0:13:58 | 0:14:01 | |
is to watch a man get hit in the crotch. | 0:14:01 | 0:14:06 | |
Ben makes a valid point. | 0:14:06 | 0:14:08 | |
Sometimes you just can't beat a bit of lowbrow comedy. | 0:14:08 | 0:14:13 | |
TOM GROANS | 0:14:13 | 0:14:15 | |
Oh, I've changed my mind, this isn't funny at all. | 0:14:15 | 0:14:18 | |
Here's a selection of lo brow clunkers. Enjoy! | 0:14:18 | 0:14:21 | |
I don't know, you tell me. | 0:14:27 | 0:14:28 | |
Ah, The Hangover 3. | 0:14:28 | 0:14:30 | |
An utter movie mistake distilling all the worst | 0:14:30 | 0:14:34 | |
bits of the brilliant Hangover 1 and the middling Hangover 2. | 0:14:34 | 0:14:38 | |
Mr Chow here is going mental with a knife to Stu's neck. | 0:14:40 | 0:14:43 | |
The right side of Stu's neck, that is. | 0:14:43 | 0:14:45 | |
So how come the cut's on his left side for the rest of the film? | 0:14:45 | 0:14:49 | |
And more to the point, why was this awful film made? | 0:14:49 | 0:14:53 | |
# Money. # | 0:14:53 | 0:14:54 | |
..Three! | 0:14:54 | 0:14:56 | |
Quick, guys, it's Zach Galifianakis, the best thing about The Hangover 3. | 0:15:05 | 0:15:08 | |
Sorry, Matthew, the sound editors have ruined this scene for me. | 0:15:08 | 0:15:11 | |
-You see this saucy exchange of a lollypop? -Oh, do I. | 0:15:11 | 0:15:15 | |
SHE CRUNCHES LOLLIPOP | 0:15:21 | 0:15:23 | |
Clearly, she's crunching and chewing on the lollipop. | 0:15:23 | 0:15:26 | |
But there it is whole again. | 0:15:28 | 0:15:31 | |
Thanks a bunch, sound effects people. | 0:15:31 | 0:15:33 | |
Are you in a library? | 0:15:37 | 0:15:39 | |
It's the cast of the Wedding Crashers! | 0:15:39 | 0:15:41 | |
Doing a not as good film. | 0:15:41 | 0:15:43 | |
Yeah, The Internship wasn't exactly laugh out loud. | 0:15:43 | 0:15:46 | |
This scene's funny though. But not the way they intended. | 0:15:46 | 0:15:49 | |
Check out the books behind them. They keep changing! | 0:15:49 | 0:15:52 | |
And the red trolley disappears constantly. | 0:15:52 | 0:15:57 | |
Much like my will to live whilst watching this film. | 0:15:57 | 0:15:59 | |
Now, there's a lot of hate for Movie 43. | 0:16:01 | 0:16:05 | |
That's because it's absolutely one of the worst | 0:16:05 | 0:16:07 | |
films in the history of cinema. | 0:16:07 | 0:16:10 | |
Oh, come on! It's got a great cast. | 0:16:10 | 0:16:13 | |
Who were all essentially blackmailed into doing the film by the directors. | 0:16:13 | 0:16:16 | |
Here's the actually very talented Anna Faris and Chris Pratt. | 0:16:16 | 0:16:19 | |
-This is perfect. -Julie, we've been together for over a year. | 0:16:21 | 0:16:26 | |
16 months and two weeks. | 0:16:26 | 0:16:29 | |
And in that time, | 0:16:29 | 0:16:30 | |
I've come to realise that... | 0:16:30 | 0:16:32 | |
you mean everything to me. | 0:16:32 | 0:16:34 | |
Oh, Doug. You too. | 0:16:34 | 0:16:37 | |
-Ah, Julie and Doug. -No, no, Ben. | 0:16:37 | 0:16:39 | |
They call themselves that here, but on the credits, see? | 0:16:39 | 0:16:42 | |
They're listed as Vanessa and Jason. | 0:16:42 | 0:16:45 | |
I'd argue that's another great gag on a great film. | 0:16:45 | 0:16:49 | |
I'd argue it's another misfire in a film that should have | 0:16:49 | 0:16:52 | |
genuinely never been made. | 0:16:52 | 0:16:54 | |
It's the unashamedly crude Ted. | 0:16:58 | 0:17:00 | |
Marky Mark wants to prove he's all grown up | 0:17:00 | 0:17:03 | |
since his time with the so-called Funky Bunch in the early '90s. | 0:17:03 | 0:17:08 | |
But look, he can do up his tie and everything. | 0:17:08 | 0:17:11 | |
And for further emphasis, he does it up again. | 0:17:11 | 0:17:14 | |
Hanging around with a teddy bear isn't terribly adult. | 0:17:14 | 0:17:17 | |
It's just a movie, Ben. | 0:17:17 | 0:17:19 | |
And, OK, this is ridiculous. | 0:17:23 | 0:17:25 | |
When Mila Kunis come out of the shower, | 0:17:25 | 0:17:27 | |
she has full make up on. | 0:17:27 | 0:17:29 | |
Down here. Not looking up your towel, swear to God. | 0:17:29 | 0:17:32 | |
Not looking up your towel, not looking at your funny business. | 0:17:32 | 0:17:34 | |
Hang on, Ben. There is a chance that she actually is that beautiful. | 0:17:34 | 0:17:38 | |
Or that she's wearing waterproof mascara. | 0:17:38 | 0:17:41 | |
Let me talk first, all right? And then you can say whatever you want. | 0:17:41 | 0:17:45 | |
Well, I'm marking it up as a mistake. | 0:17:45 | 0:17:47 | |
It's time for Donny, AKA Giovanni Ribisi, | 0:17:52 | 0:17:55 | |
to show us his dance moves. | 0:17:55 | 0:17:57 | |
Some pretty decent hip-work there. | 0:17:57 | 0:17:59 | |
And now, thanks to his disappearing drink, he can use his arms. | 0:18:04 | 0:18:08 | |
Beautiful. | 0:18:08 | 0:18:10 | |
-How many continuity guys does it take to change a light bulb? -I don't know. | 0:18:14 | 0:18:17 | |
Well, look at this Christian Science Reading Room. The lights are on... | 0:18:17 | 0:18:20 | |
but once we're here with Mila in her car... | 0:18:20 | 0:18:23 | |
..they're off. | 0:18:25 | 0:18:27 | |
However, spin forward just a few seconds and... | 0:18:30 | 0:18:34 | |
I've seen the light! | 0:18:34 | 0:18:36 | |
PHONE RINGS | 0:18:36 | 0:18:39 | |
OK, so... | 0:18:43 | 0:18:45 | |
It's mirth-filled, fun action comedy, The Heat, | 0:18:45 | 0:18:48 | |
starring Sandra Bullock and Melissa McCarthy. | 0:18:48 | 0:18:50 | |
Whoa, Bullock's put on a lot of weight for this role. Respect. | 0:18:50 | 0:18:54 | |
When hiring extras in your next feature film, | 0:18:54 | 0:18:57 | |
try to make sure they're not identical triplets wearing | 0:18:57 | 0:19:00 | |
the same costume, as can be seen in the background of this scene. | 0:19:00 | 0:19:04 | |
Look at this guy! | 0:19:04 | 0:19:06 | |
And now this fellow, same shirt and bag. | 0:19:09 | 0:19:13 | |
And now this chap. | 0:19:13 | 0:19:15 | |
-Guys, I'm pretty sure they're the same person. -Wow, Matthew. Wow. | 0:19:15 | 0:19:21 | |
Now, Shannon here hurls a watermelon at a criminal. | 0:19:24 | 0:19:27 | |
Notice how it doesn't break. | 0:19:27 | 0:19:28 | |
-He, Matthew. Criminals are people too. -I meant the watermelon. | 0:19:29 | 0:19:33 | |
Which is now broken up all over the place. | 0:19:33 | 0:19:36 | |
A watermelon? Ah, hell, no. See, I told you you were a racist. | 0:19:36 | 0:19:40 | |
But not here. | 0:19:40 | 0:19:42 | |
-Anachronisms. -A fear of spiders. | 0:19:45 | 0:19:47 | |
No. "Anacrophobia" is the fear of spiders. | 0:19:47 | 0:19:51 | |
Anachronisms are when you have the political beliefs of a spider. | 0:19:51 | 0:19:56 | |
Actually, it's when something from the wrong time period | 0:19:56 | 0:19:58 | |
appears in a film. | 0:19:58 | 0:20:00 | |
Ever since the digital watch in Ben Hur, | 0:20:00 | 0:20:02 | |
eagle-eyed movie mistakes legends such as ourselves... | 0:20:02 | 0:20:05 | |
-Guilty as charged. -..have been spotting anachronisms, circling | 0:20:05 | 0:20:08 | |
them in red pen, pointing at them, laughing at them and high-fiving. | 0:20:08 | 0:20:12 | |
More mistakes from the brilliant Argo. We're virtually Argonauts. | 0:20:16 | 0:20:22 | |
-Now, check out that broken Hollywood sign. -Factually accurate. -Ah! | 0:20:22 | 0:20:25 | |
You're wrong, Matthew. | 0:20:25 | 0:20:26 | |
Sure, it fell into disrepair in the '70s, | 0:20:26 | 0:20:28 | |
but it was famously refurbished in 1978, | 0:20:28 | 0:20:33 | |
a full year before the Iranian hostage crisis began. | 0:20:33 | 0:20:36 | |
Amateurs. | 0:20:36 | 0:20:38 | |
The long and serious Lincoln again. | 0:20:41 | 0:20:43 | |
And here's proof they had electrical sockets in the 19th century. | 0:20:43 | 0:20:46 | |
They did? | 0:20:46 | 0:20:47 | |
Well, they must have done, see? | 0:20:47 | 0:20:49 | |
There it is, and as we all know, Spielberg is a details man. | 0:20:49 | 0:20:53 | |
OK, boys. What's wrong with this scene? Listen close. | 0:20:58 | 0:21:01 | |
The war will take our son. | 0:21:01 | 0:21:03 | |
A sniper, or shrapnel shell, or typhus. | 0:21:03 | 0:21:06 | |
Same as it took Willie, it takes hundreds of boys a day. | 0:21:06 | 0:21:09 | |
He'll die uselessly... | 0:21:09 | 0:21:10 | |
Something about Willie taking hundreds of boys a day? | 0:21:10 | 0:21:13 | |
No, no, no, she used the term "sniper". | 0:21:13 | 0:21:15 | |
As we all know, this term wasn't used in the US | 0:21:15 | 0:21:17 | |
until well after the Civil War. She would have meant "sharpshooter". | 0:21:17 | 0:21:21 | |
-I didn't know that. -Nor did I. -No? | 0:21:21 | 0:21:24 | |
Well, that fact brought the house down at my live action role-playing club! | 0:21:24 | 0:21:28 | |
Guys? | 0:21:28 | 0:21:30 | |
Who's up for a very petty anachronism from the powerful, violent | 0:21:33 | 0:21:36 | |
-but underwhelming Lawless. -Not me. -Please, no. | 0:21:36 | 0:21:41 | |
Yes, ladies and gentleman, as you can see, that camera is | 0:21:41 | 0:21:44 | |
a Kodak Brownie Target 620, which wasn't in production until 1946. | 0:21:44 | 0:21:48 | |
Nine years after he used it! | 0:21:48 | 0:21:51 | |
Oh, is it over? | 0:21:51 | 0:21:53 | |
-Yes. -Thank God. | 0:21:53 | 0:21:54 | |
Oh, we weren't talking business yet. We were discussing my curiosity. | 0:22:01 | 0:22:06 | |
Cor, Django Unchained. | 0:22:06 | 0:22:07 | |
I love an explosive, blood thirsty tour de force. | 0:22:07 | 0:22:10 | |
I love how Quentin Tarantino plays fast | 0:22:10 | 0:22:13 | |
and loose with the rules of film-making. | 0:22:13 | 0:22:15 | |
You mean how he subverts the conventional | 0:22:15 | 0:22:17 | |
tropes of the Western genre. | 0:22:17 | 0:22:19 | |
No, how he gives DiCaprio a straw for his drink. | 0:22:19 | 0:22:22 | |
They weren't commercially available until 1888. | 0:22:22 | 0:22:25 | |
-This is set in 1858, people used hollow reeds back then! -Wow. | 0:22:25 | 0:22:30 | |
What a maverick. | 0:22:30 | 0:22:32 | |
You don't make it sound too flattering but more or less, yeah. | 0:22:32 | 0:22:35 | |
Here's Charlie Sheen in the whimsical '70s clunker, | 0:22:38 | 0:22:41 | |
-A Glimpse Inside The Mind Of Charles Swan III. -Catchy title. | 0:22:41 | 0:22:45 | |
-Set in the '70s, you say? -Yes. | 0:22:45 | 0:22:47 | |
Well, I'm sure Galaga and Ms Pac-Man weren't around till 1981. | 0:22:47 | 0:22:50 | |
They should have shown a space hopper and an Etch A Sketch instead. Ha! | 0:22:50 | 0:22:55 | |
I'm not into this modern, metrosexual stuff. | 0:22:58 | 0:23:01 | |
You surprise me, Ben. | 0:23:01 | 0:23:03 | |
The last time you washed this dressing gown, it was pre-Avatar. | 0:23:03 | 0:23:06 | |
I'm talking about blokey films, Matthew. Macho stuff. | 0:23:06 | 0:23:09 | |
I don't like these girly films with things like feelings and love | 0:23:09 | 0:23:15 | |
and three-dimensional female characterisation. | 0:23:15 | 0:23:18 | |
A shining example of modern manhood. | 0:23:18 | 0:23:20 | |
Speaking of which, close your dressing gown. | 0:23:20 | 0:23:23 | |
Look, I want films with explosions, cars, blood. | 0:23:23 | 0:23:28 | |
My ideal film would be about an exploding car made of blood. | 0:23:28 | 0:23:34 | |
Contribute to the Kickstarter, guys. | 0:23:34 | 0:23:36 | |
Here for Ben's enjoyment | 0:23:36 | 0:23:38 | |
and for your viewing pleasure are some macho movie mistakes. | 0:23:38 | 0:23:41 | |
Oh! | 0:23:42 | 0:23:43 | |
Oh, that's harsh. | 0:23:43 | 0:23:46 | |
It's my day off. Should be a quiet weekend. | 0:23:46 | 0:23:49 | |
What The Last Stand lacks in plot, acting and script, | 0:23:49 | 0:23:52 | |
it makes up for in movie mistakes. | 0:23:52 | 0:23:54 | |
Here's Arnie with a bit of a drink problem. | 0:23:54 | 0:23:56 | |
Look at the way he's holding the cup with the handle to the side. | 0:23:56 | 0:24:00 | |
-But now he's holding it with a handle! -What a mug. | 0:24:01 | 0:24:05 | |
This bearded baddie's a talented driver. | 0:24:09 | 0:24:12 | |
Yeah. He can somehow speed along despite | 0:24:12 | 0:24:14 | |
the handbrake clearly being up. | 0:24:14 | 0:24:16 | |
Death is waiting in the kitchen | 0:24:16 | 0:24:18 | |
when you get up at night for a glass of milk. | 0:24:18 | 0:24:20 | |
And there he goes, turning his car into a ramp. The man's amazing. | 0:24:25 | 0:24:29 | |
The boys must be making a crop circle in a corn field. | 0:24:38 | 0:24:41 | |
Check out Arnie, shooting out from his open window like a boss. | 0:24:41 | 0:24:46 | |
BLEEP. | 0:24:46 | 0:24:47 | |
But wait. That window is definitely closed, | 0:24:50 | 0:24:52 | |
and either they're tinted or there's no-one inside. | 0:24:52 | 0:24:55 | |
Crop circles are mysterious things. | 0:24:57 | 0:24:59 | |
It's the other fork, darling. | 0:25:03 | 0:25:05 | |
Sean Penn, Ryan Gosling and Emma Stone. | 0:25:06 | 0:25:09 | |
What could go wrong? | 0:25:09 | 0:25:11 | |
Quite a lot, sadly. Gangster Squad is a bit undercooked here. | 0:25:11 | 0:25:15 | |
There's even an uninspiring performance from Sean Penn's napkin, | 0:25:15 | 0:25:18 | |
which goes on for a Screen Actors Guild | 0:25:18 | 0:25:21 | |
break halfway through the scene. | 0:25:21 | 0:25:23 | |
-I heard it was having an affair with Emma Stone's fork. -(Get out.) | 0:25:23 | 0:25:27 | |
I think I'll just have a cigarette. | 0:25:27 | 0:25:28 | |
In the cheesy and juvenile The Man With The Iron Fists, | 0:25:30 | 0:25:33 | |
MMA no longer stands for mixed martial arts, | 0:25:33 | 0:25:36 | |
but movie mistake alert. | 0:25:36 | 0:25:38 | |
Ah, yes. Here's former pro wrestler Batista off to the lion's temple, | 0:25:39 | 0:25:44 | |
but somehow his chin facial hair doesn't go with him. | 0:25:44 | 0:25:47 | |
That's a heavyweight clanger. | 0:25:47 | 0:25:49 | |
Whoo! | 0:25:52 | 0:25:54 | |
Action heroes never die. Their sagging cadavers just limp along | 0:25:54 | 0:25:59 | |
into the increasingly silly The Expendables franchise. | 0:25:59 | 0:26:03 | |
RAPID GUNFIRE | 0:26:03 | 0:26:07 | |
Now check the level of sloppiness on this dub. Watch this! | 0:26:07 | 0:26:10 | |
BOTH SHOUT AT EACH OTHER | 0:26:10 | 0:26:12 | |
Literally no idea what Lundgren is mouthing, | 0:26:12 | 0:26:15 | |
but then I rarely do. | 0:26:15 | 0:26:17 | |
Hold on. Wasn't that battering ram down a second ago? | 0:26:17 | 0:26:20 | |
Yes! Good spot. As the saying goes, it's up | 0:26:20 | 0:26:23 | |
and down more than a battering ram in The Expendables 2. | 0:26:23 | 0:26:26 | |
Ah, so that's where that saying comes from. | 0:26:26 | 0:26:30 | |
SPEAKS IN NATIVE TONGUE | 0:26:34 | 0:26:36 | |
Arnie's reportedly accused of having wandering hands, | 0:26:36 | 0:26:39 | |
so much so that, even when they're tied to a chair, they come free. | 0:26:39 | 0:26:43 | |
Look at that. | 0:26:43 | 0:26:44 | |
Get him up. | 0:26:45 | 0:26:47 | |
They're back, though, in time for Stallone | 0:26:47 | 0:26:50 | |
to slur something incomprehensible. | 0:26:50 | 0:26:52 | |
Trench? | 0:26:54 | 0:26:55 | |
Oh, this is embarrassing. | 0:26:55 | 0:26:57 | |
Nice meeting you. | 0:26:59 | 0:27:01 | |
Explain this, my fellow movie mistakers. | 0:27:03 | 0:27:06 | |
Sly's bike makes a revving noise before he even lays | 0:27:06 | 0:27:09 | |
a hand on the throttle. | 0:27:09 | 0:27:11 | |
ENGINE REVS | 0:27:11 | 0:27:13 | |
Maybe the bike, just like I feel compelled to do right now, | 0:27:13 | 0:27:16 | |
-is throttling itself. -Like this. | 0:27:16 | 0:27:20 | |
MAKES CHOKING NOISE | 0:27:20 | 0:27:21 | |
Oh, my God! Oh! | 0:27:21 | 0:27:23 | |
This scene focuses on helicopter number 711, | 0:27:25 | 0:27:28 | |
named after the popular chain of American shops. | 0:27:28 | 0:27:31 | |
They're an old favourite. | 0:27:31 | 0:27:32 | |
What are you doing here? | 0:27:32 | 0:27:35 | |
Moving on. You killed all my business. | 0:27:35 | 0:27:37 | |
But here it's been replaced by the helicopter number 712, | 0:27:42 | 0:27:46 | |
named after the combined age of the lead cast. | 0:27:46 | 0:27:49 | |
And that's your lot. | 0:27:51 | 0:27:52 | |
See you soon for some more... | 0:27:52 | 0:27:54 | |
ALL: Great Movie Mistakes! | 0:27:54 | 0:27:56 |