Continuity mistake: When Samir parks by 128 Randolph, he leaves the vehicle with the drivers side window down, but when the other agents pull up, the window is rolled up.
Continuity mistake: At one point, when Leon is fighting with Mahogany on the train, there is a shot of blood dripping off a knife onto Leon's face. This blood later vanishes. (01:20:02 - 01:21:19)
Continuity mistake: When Jessie and Carlos walk to the church ruins, a big bruise on his nose suddenly appears for a couple of seconds, only to disappear briefly after.
Continuity mistake: In the ending credits, Ule Matobo is listed as "President", but in the film (and later in season 7 of the TV series), he was always referred to as "Prime Minister".
Continuity mistake: During the fight with the gypsy in the middle of nowhere, Bronson faces the crowd and raises his hands up but in the next shot his hands are pointing downward.
Continuity mistake: Amount of liquid in glass changes from when she fills it to when she takes her first drink. (00:02:50)
Continuity mistake: Sarah is called Cross, but her name is listed as 'Bowman' in the credits.
Continuity mistake: When Miki's husband is killed by the shuriken (large throwing stars), they enter and exit his body vertically (you see them embed themselves into the wall vertically), yet when he falls to pieces, the cuts are all horizontal.
Continuity mistake: When the Porsche Cayenne is racing through the junk yard, in one shot the right headlamp is broken. In the next, it is fine again and then it's broken once more.
Continuity mistake: During the sex scene between Milo Ventimiglia and Lauren Lee Smith, in which the fat guy was found dead, three consecutive shots showed that Milo Ventimiglia has his shirt on on the first, then the shirt disappeared on the next, only to reappear on Milo Ventimiglia's body again in the third shot.
Continuity mistake: Just after fake Amy in the mirror starts to cut her daughters neck slightly with the scissors, the real Amy having escaped the bathtub grabs her daughter and puts her in the corner of the room. Soaking, she removes her top exposing her right breast and nipple - next shot she has a soaked singlet on which wasn't there a second ago.
Continuity mistake: When Ronald's girlfriend gets up at the breakfast table, and tousles his hair, Ronald is holding a glass of milk in his right hand. There's a cut to a wide shot, and Ronald is not holding the milk. There's not enough time for him to have put it down.
Continuity mistake: Mike Manador watches his girlfriend Gina drive away in a taxi. Behind him a truck can be seen coming down the street. Mike then steps out into street seconds later, but the truck has vanished. Next shot looks up the street and sure there is the taxi but no other vehicles, and you can see the entire street. (01:41:25)
Continuity mistake: When Omar Sadiki is escaping from agent Ferris, a cream Cherokee chases him and a black Kia SUV tries to intercept him as well. This black Kia takes a shot that completely shatters the windshield, but seconds later it crashes and the copilot is expelled through an undamaged windshield.
Continuity mistake: When the mother puts the drawing from her daughter in her pocket she puts it in the left pocket of her jeans. When she takes it out later, she takes it from her right jean pocket.
Continuity mistake: While on a dirt road, the GPS tells them to turn around when they can. The car then starts to turn left. In the next cut, the car is turning right.
Continuity mistake: Gina's father opens the door, club in his hand, and finds his family inside for the surprise party. In the reverse shot, Gina's position is also mirrored, having the right arm raised instead of her left. (00:08:15)
Continuity mistake: When Chris drives up to Edgar's house, his windshield is dirty but suddenly clean thereafter. (00:11:37 - 00:12:57)
Continuity mistake: When Wyatt is shot, the amount of blood on his shirt next to the collar increases, decreases and even disappears between shots.
Continuity mistake: When we first see Agent Holloway viewing the crime scene photos taped to the wall, he is facing camera looking at transparent pictures on a transparent wall (as if we are behind that wall, seeing through it). When the angle changes to see the Agent from behind, the photos are now paper photos on a normal, opaque wall and the pictures are arranged somewhat differently - most notably to Holloway's right near the top where two wider photos are vertically aligned atop and below each other in the second shot when they were misaligned in the first shot by nearly half their width. The transparency versus opaque materials issue is a stylistic choice of the director and not a mistake, but the mismatched alignments is a mistake. (00:11:25)