Movie Bloopers We'll Never Get Sick Of Watching

Watching actors mess up their lines, miss their marks, drop a prop, or make other errors is undeniably fun. Whatever you want to call them—bloopers, gag reels, outtakes, flubs, movie mistakes—these unusable bits of a movie are often a blast. These all-time classic movie bloopers are just as entertaining as the films they came from—in fact, in some cases, they're even better—and they've kept us cracking up for years.https://youtu.be/DJ-gMKLrhWg?list=PLOzaghBOlEsflK3SaPcfFGDWhadWyBeVF

Probably because it's part of the mythology of one of the most successful and beloved movies of all time, the stormtrooper bonking his head on a doorframe during Star Wars is one of the most famous movie bloopers of all time—and it never gets old. It's a rare and welcome bit of physical comedy in the otherwise dramatic and serious space opera. Plus, while stormtroopers are constantly getting themselves shot, blown up, or thrown off of things, this minor mishap really helps drive home the idea that those black-and-white-clad foot soldiers are the Imperial Keystone Cops of outer space.

Here's another mistake that made it into the final cut of an all-time favorite film—and it's a gross one, so of course we can't look away. Just before that wonderful moment in Raiders of the Lost Ark when the Ark opens up, the camera holds tight on the soon-to-be-destroyed face of French archaeologist Rene Belloq (Paul Freeman). It's such an extreme close-up that the camera catches a fly landing on Freeman's face, which of course wasn't planned. Also not planned: The fly appears to saunter into Freeman's mouth. In an interview with fan site the Indy Experience, Freeman said he felt the fly on his face, but didn't think anyone would notice. He also claimed that the fly never actually went into his mouth, but that an editor played around with frames to make it look like it did.

More than 35 years after the release of Smokey and the Bandit II, many comedies and action comedies will still run a blooper reel over the closing credits. This isn't the first film to stick a slapstick stinger after the final act—in fact, Bandit stars Burt Reynolds and Sally Field were part of one two years earlier in 1978's Hooper—but it's a tradition that started in earnest with Reynolds' second jaunt as an impossibly cool Trans Am-driving dude speeding his way through a cross-country chase. Reynolds and his cronies clearly had a great time working on the movie; sadly, in the years since, a credits blooper reel has become a pretty reliable indicator that the movie itself isn't all that funny.

In real life, there isn't much that's funny about watching a child slip and take a tumble, unless you're some kind of monster. But when Macaulay Culkin slips on ice and snow in an outtake from the first Home Alone film, it's downright hilarious. Is it because it's just the teensiest bit of blowback for his character, Kevin McAllister, in his violently aggressive quest to take down the Wet Bandits? Perhaps it's simply because pratfalls are the great equalizer, funny no matter who's falling down—adult or child, movie star or normal person.

North by Northwest is one of Alfred Hitchcock's best films, which is saying something. It's full of moments of tension and thrills, such as when Eva Marie Saint's character threatens Cary Grant's with a gun in a crowded cafeteria. Some of that tension is undercut significantly, however, by the behavior of a child extra. Viewers can be sure Saint is going to fire that gun—and that it's going to make a loud bang—because there's a little kid right behind the actors who plugs his ears a full five seconds too early.

In this '50s-set scene from the classic time travel comedy, Marty McFly (Michael J. Fox) takes a pull from a bottle of booze. Fox was supposed to react like it's strong hooch—and some Back to the Future associates decided to help him out by putting real booze in the container. Fox didn't have to act at all when he gulped down a mouthful of high-proof alcohol. His reaction—a glorious spit take—is one of genuine surprise.

The Frighteners is a quirky, funny horror movie directed by Peter Jackson during the days before he moved on to huge epics like The Lord of the Rings and King Kong. It's about a guy who develops the ability to communicate with (and see) ghosts...so he befriends them, has them "haunt" people, and then charges to exorcise. Michael J. Fox stars as the ghost hunter, playing against type in an attempt to get audiences to associate him with a role other than Marty McFly from Back to the Future. 

It would seem that even Fox himself has a hard time disassociating from those movies. One of his ghost friends is a Wild West gunslinger named "The Judge"—and during the shoot, Fox kept accidentally referring to him as "Doc," as in "Doc Brown" from Back to the Future.

In We're the Millers, Jason Sudeikis, Jennifer Aniston, Emma Roberts, and Will Poulter play four people pretending to be a family as part of a drug smuggling operation. In one scene, Sudeikis's character turns on a radio, and TLC's "Waterfalls" is supposed to come out. Instead, the cast and crew took this opportunity to prank Aniston: rather than "Waterfalls," the theme song from Aniston's old sitcom, Friends, blasts out of the speakers. Sudeikis's emphatic handclaps in Aniston's direction are particularly delightful.

Jim Carrey is a gifted improviser, and directors will often just let him go, rolling film as he experiments on the fly to see if he can come up with something funnier than the script. In Liar Liar, Carrey plays a smooth-talking lawyer whose habitual unreliability with his son inspires his kid to wish he'd stop lying—leaving Carrey temporarily cursed with the inability to be anything but completely honest. The setup makes for one of his most over-the-top performances ever, and he generated so many funny but ultimately unused takes that filmmakers ran some of them as an over-the-credits gag reel with plenty of laughs in its own right.

One thing unites the many different Star Trek properties, from the original series in the 1960s through the world-expanding shows in the '80s and '90s and the big-budget big-screen reboots of the 21st century. Yes, all the Treks tell grand and imaginative stories promoting unity and brotherhood, but that isn't the key ingredient that ties it all together. It's that spaceship doors that are supposed to open automatically—because it's the future—never seem to work correctly.