Revealing mistake: People playing video games in a movie or TV show will often mash the button in a way that doesn't match what is going on in the game.
Common movie and TV mistakes - page 2
This is a list of mistakes, things done wrong, etc. that happen so frequently onscreen we barely notice any more. 'Movie logic', stupid behaviours, and everything related.
Character mistake: The victim will wait for the antagonist to finish a speech or villain song, rather than attempt to kill them while their guard is down. It's only the hero unexpectantly bursting in that won't wait for them to be done.
Factual error: IP addresses are 4 groups of up to 3 numbers each, maxing out at 255 - it's a fundamental limitation of the technology. But IP addresses in movies are often shown as something like 564.100.432.165, which is impossible. This isn't like movie phone numbers all starting with 555, because that's still a feasible phone number, just with a "movie" area code.
Deliberate mistake: Strip clubs in non-adult-rated movies/TV shows where every woman dancing onstage is fully clothed.
Factual error: In almost every movie from the introduction of sound on to present day, lightning and thunder happen simultaneously, while in reality there's always a delay between the former and the latter.
Factual error: Knocking someone out by hitting them in the head is in no way a "safe" means to incapacitate them. Leaving a person unconscious after a head injury is extremely dangerous and can lead to death. It is absurd for a hero who doesn't want to kill anyone to go around punching people out and just walking away.
Factual error: An oft-repeated myth in movies, usually in the science fiction genre, is that humans only use 10% of their brains. The truth is that humans use all of their brains, even when asleep.
Factual error: People using computers and having what's shown on the monitor's screen projecting clear sharp mirrored images onto their faces. That's not how monitors work. For example in Jurassic Park, when the raptor breaks into the control room and is hopping around the computer workstations, sharp, distinct "GTAC" genetic coding is shown projected from a computer screen across the raptor's face. Another example is seen in the 1995 film Hackers, when sharp, distinct text and even graphics are shown projected from an early laptop onto the faces of Angelina Jolie and Jonny Lee Miller.
Other mistake: The hero can usually knock out henchmen with one or two punches, but the main villain (as well as the hero themselves) can take much more punishment. This is practically akin to enemies in video games. In fact, heroes are so confident of their abilities that they can knock an opponent down and know that they are down for the count without even having to verify.
Suggested correction: How is this a mistake? Of course the main villain, the boss, is hardest to knock out. If his henchmen were just as strong or stronger, why are they just henchmen? See it like a race, the champion is hardest to beat, that's why he is champion.
He doesn't mean that it's in video games, he's meaning that this makes movies and shows like video games using that.
Just to give an example, at the beginning of the movie "Goldeneye," James Bond knocks out a henchman sitting on a toilet with one punch. But at the end of the movie, Bond and Trevelyan are beating the crap out of each other and neither is knocked unconscious. It's certainly reasonable for someone to be a more formidable fighter than their underlings, but it wouldn't make them magically impervious to blows to the head.
The mistake is that the hero of the movie very rarely checks to see if a disabled opponent got back up. They are supremely confident that they are out, even if the hero literally just rolled them on to the floor. Makes for good movie magic, but is totally unrealistic.
This mistake has four aspects. (1) The hero knocks someone unconscious for good with just one hit. (2) The hero does this to several enemies in succession, with the same results. (3) The hero shows no signs of fatigue. (4) The hero takes on the tougher villains and takes them down too. Doing all of these requires immense superhuman strength. In films about superhumans, this is not a mistake. But there are films that deliver this and are cheeky enough to give the appearance of there being a modicum of reality in it.
It's not necessarily a measure of strength, technique has got a lot to do with it. When one goes for the throat for example or the jaw a knockout is almost always certain, if you know what you are doing. You have to if you got no time to hit someone twice because the next opponent is not waiting.
You are right. But we don't see proper technique either. I really have issues with people getting unconscious for good from a punch between their eyes, especially when John Reese does it.
I agree with you that some movies take it too easy. But is it really common? The first knock out of Goldeneye example isn't all that unlikely, he may even have hit that guy twice, but a blow to the head, a surprise blow to the head can definitely knock someone out, happens in boxing all the time. Even between the eyes, as long as the head is knocked around.
Revealing mistake: In driving scenes, the driver of the car usually has very over exaggerated movements of his or her hands on the steering wheel. When in reality you're not moving it that noticeably except a few micro corrections every few seconds or taking turns.
Other mistake: People who've been stranded on a desert island/in space/in prison for ages and yet still have fashionable stubble and decently-manicured nails.
Other mistake: Actors in their late 20's or early 30's playing high school students, or characters who are under the age of 18.
Other mistake: When women go to bed they never take off their make-up. Conversely, when they wake up in the morning, their make-up looks like it was just applied, and there are never any smears on pillow cases.
Factual error: In many action movies someone will instantly kill a man by approaching them from behind, grabbing their cheek, and twisting their head to the side, breaking their neck. The move is even frequently used one-handed. The torque required to actually break a neck this way is enormous and would require much more leverage than simply standing behind someone and twisting their head. Neck cranks are certainly real but they are done in a more traditional "head-lock" style on a grounded opponent. Also, a broken neck is not always fatal, let alone instantly fatal. A broken neck is not even an assured knock-out, so it is absurd to use this move as an effective "stealth kill" in spy movies.
Factual error: When someone dies with their eyes open and another character can close the dead person's eyes by gently running their hand over their face. The eyes of a dead body won't stay shut that way.
Suggested correction: This is partially true. If the person is recently deceased then you can close the eyes with relative ease. If however they have been deceased long enough for rigor mortis to set in then the mistake is valid. It's a tough one to be honest.
That's not true at all. Muscles can not contract after death. Therefore, if someone tries to close the eyes of someone who is dead, the eyes will open back up to their original positions. They only way they can stay closed is if someone seals them shut, in the case after death, a wet swap may work, which is not what they commonly do in films.
In addition to this, this was also why the old common practice of placing heavy coins over the eyelids was used in many cultures.
Factual error: The hugely exaggerated amount of flame and damage produced by military weapons such as a hand grenade. They make a loud boom, a bit of a flash and a small stain of black smoke. No mammoth explosion, that's for sure.
Other mistake: Characters swapping clothes with others suddenly (strangers, police officers, females, etc) always get their size and the clothes fit perfectly.
Audio problem: Characters holding conversations on board aircraft where they wouldn't normally be audible such as military helicopters or cargo planes. In real life those are loud places where people wear hearing protection and communicate with radios or built in comms. (Not a mistake for luxury helicopters or airliner size cargo planes with sound proofing).
Character mistake: In many space-based action sequences, all the craft involved act like space isn't 3D. Ships fly at each other head on, surround other vessels in a circle, not a sphere, attack with a pincer movement from the left and right, rather than above/below, etc. Most of the time the action is all broadly on one plane. Makes things easier to understand from an audience perspective, makes zero sense tactically speaking.
Factual error: Characters gain access to secure facilities using a single thing: a stolen ID card, fingerprint on sticky tape etc, but with no second factor to verify identity like a PIN code. This might be appropriate for something low key like the back room of a store but in thrilling shows the characters are usually trying to get into places like the CIA or high tech laboratories. In real life, higher level security access controls include at least two factors to reduce the risk of unauthorized entry. This is often a deliberate mistake by movie makers as it would slow the story down to describe multiple security measures and show how the characters gain everything needed for access. Exceptions are movies like Mission Impossible or Sneakers where this sort of complexity is part of the plot.
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Suggested correction: Hardly always, if the lightning hits right in front of you you hear the thunder immediately. I'd say from about 100 meters you perceive it as instantly, as it's only 0.3 seconds between flash and thunder.
This is a mistake about in almost all movies, not in all thunderstorms. The common mistake in the movies is when lightning isn't hitting 100m away from the character, but the sound is still instantaneous.
I assume it's about thunderstorms in movies. Name an example.
Instant thunder (even at a considerable distance of miles from the lightning or explosion source) is, indeed, a common and probably deliberate error in most films. The reasoning for it is simple: a prolonged and realistic delay between lightning and thunder could change a 1-second shot into a 6-second shot, for example, compromising the director's intended pace and mood for the scene. Steven Spielberg films have utilized both instant and delayed thunder. In "Close Encounters of the Third Kind," for example, when the UFOs zoom out into the distant background (certainly miles away) in a wide landscape shot, they produce a lightning effect in the clouds that is simultaneously heard as thunder. But in "Poltergeist" (a Spielberg film directed by Tobe Hooper), there is a very deliberate scene of characters realistically counting the seconds between distant lightning and resulting thunder. Choosing to obey physics or not is a matter of the director's artistic license.
Charles Austin Miller
I posted this while I was watching Death in Paradise, episode 7 of the third season, but really, you have never seen in pretty much any horror or cheap slasher movie whenever there's a storm, the flash of a lightning coming at the *same* time as a thunder jumpscare sound? It's vastly spoofed, even, when some ugly/creepy/terrifying character makes its appearance. One example randomly picked? Dracula by Coppola, in the first 10 minutes, carriage, lightning in the distance, not even a split second after, rumble. In RL it would reach you a couple seconds later. But really, it's such a movie archetype, I am sure you can find it in any Dracula movie.
The Dracula example doesn't really show how far away the lightning is, it could right above them. It's fake as hell, I agree with that, but the fact there is lightning and thunder at the same time without actually seeing the distance is not a mistake to me. It's also highly unnatural lightning as it only happens twice and then nothing, it's not even raining. It's obviously meant to be caused by the evil surrounding the place. The idea is there is constant lightning right on top of them.
There's a scene in Judge Dredd where every few seconds, there is a flash of lightning instantly accompanied by the sound of thunder. It happens frequently in Sleepy Hollow as well.
I know the scenes you are referring to. In both those instances you have no idea about the distance of this lightning. It could be (and probably is) right on top of them. You can hear that from the typical high sharpness of the sound, only heard when the flash is very close. Thunderclouds are never very high in the air so even the rumbling within the cloud itself can be heard, sometimes you don't even see lightning when it rumbles (yet there is). It's a bit far fetched but you could hear a rumbling or the thunder from a previous flash and mistake it for the flash you see at the same time. Can happen when there are continuous flashes.