Continuity mistake: During the scene where Rita is riding a bus, between shots the view outside changes from south quays, dame street, and back to the docklands, even though these places are several minutes bus ride away from one another and in different order.
Continuity mistake: In the diner, Walter Matthau has nearly finished his piece of toast, and then it gets bigger.
Continuity mistake: When Mary Carson is touching Father Ralph when he is shirtless her hands keep changing position between shots.
Revealing mistake: The outline of the blood pack is visible under John's shirt when Stillson's body guard shoots him. (01:37:35)
Visible crew/equipment: In one of the first scenes, two plain-clothes cops are chasing a suspect. The suspect runs through a house and down some stairs. Look under the stairs. You can see a person trying to hide in the dark under the stairs, presumably a stage hand.
Continuity mistake: When Meg comes up to Angela, taunting her, Angela's head position and the look on her face changes in each shot.
Other mistake: In the scene where Jesse enters Monica's apartment, he consults her calendar to see in which class she is in school that day. There's nothing unusual about this until you look closely at the calendar and see that time time is early/mid August. Did her school's academic year run differently from other schools' years, or was she taking summer classes? The latter doesn't seem likely.
Continuity mistake: When Tony is trying out for the second show, he is shown wearing number 46. There is one shot of him wearing number 40, which was his number for the first tryout.
Continuity mistake: When Braden is confronted by Cho's mother, she throws a blade at him, which he catches and throws back, sticking it in her shoulder. She uses a blowgun and there are two shots of her with the blade in her shoulder and blood on her clothes from the wound. However, when she misses there is a shot of her using a smoke ball where there is nothing in her shoulder, nor is there any blood on her clothes.
Continuity mistake: Jenny Seagrove takes Peter Capaldi to see Grey seals only it's clearly stock footage of sealions, totally different animals not found in Scotland.
Visible crew/equipment: In the final fight scene on the cliff when they begin to battle in the air, you can see the wire pulleys on the right corner of the screen. (01:18:20)
Audio problem: When Anschel and Avigdor are arguing, Avigdor says, "Aww, what's the matter with you?" But his lips are saying something different.
Factual error: In the shot of the start of the race at Agua Caliente - some of the horses in the line up are wearing ring head bridles (an Australian stock horse type bridle) - it would be unlikely that these American horses would be racing in such bridles.
Factual error: Alex is racing his bicycle across a bridge over the Detroit River on the way to the stadium. The bridge is the one leading from the Detroit mainland to Belle Isle, an island park, where there is no residential area.
Factual error: SAC's airborne command post is shown in several scenes. Problem is, while there is such an aircraft, it is not a KC-135 Stratotanker, which is what is shown.
Continuity mistake: When Jeremy Irons is talking to Patricia Hodge in a bar in the movie's first scene, the beer he is drinking changes levels from full to half full to full again.
Continuity mistake: When McQuade gets buried in his truck, as he's about ready to burst out of the ground, you see the camera getting a shot of the lights on the top of the truck. The lights that are shown are a different shape than they are in the rest of the film.
Revealing mistake: When Nicole's bike jumps over the kids lying on the ground there's a ramp beside them disguised as part of the road to allow for the stunt.
Visible crew/equipment: Near the beginning when Nick Nolte is in the back of the truck, the sun is behind the camera. You can see the shadow of the camera operator perfectly along with the camera's shadow.
Continuity mistake: At the NAACP headquarters, Medgar Evers joins other people sitting at the table to talk with Sampson. The person sitting next to him casts a long diagonal shadow across the table in each wide shot, and a short one when the camera is on Sampson.