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Continuity mistake: When 1955-Marty reads Doc's 1885 letter next to the Western Union car, his right hand is either on the lower part of the paper or the upper, depending on the shot.

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Continuity mistake: When Doc travels to 1885, Marty stands on the road holding a rope and says "He's gone." When the angle changes, the length of the rope sticking out is much shorter. (01:38:03)

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Continuity mistake: When Buford hangs Marty, he puts the rope around his neck once. In the close-up the rope goes around twice.

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Continuity mistake: When Marty and Buford duel, Seamus' distance to the bartender keeps increasing / decreasing randomly between shots.

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Continuity mistake: When the train hits 70 mph the chimney explodes to pieces. When the bar that Clara holds onto breaks the chimney reappears. (01:39:53)

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Revealing mistake: When the train pushes the DeLorean and hits 70 mph Doc tries to grab Clara. In the wide shots (where we can't see his face) his coat whips, but in the close-ups where we do see his face the coat flutters, revealing that the train was going much faster with the stuntman.

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Revealing mistake: At the festival, after Marty is given the gun he encounters Seamus and Maggie. Due to the Vistaglide camera effect where Marty was later added to the scene, she is unable to look at where Marty is supposed to be. This is very noticeable when Seamus says "buffoon" and Marty turns around and starts to walk, but Maggie keeps staring at where he was. Also when the scene ends and she looks at Marty and warns him to watch for the future, she's totally missing the spot.

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Continuity mistake: After the festival, Marty wakes up and grabs the gun belt, which is missing a bullet. When he mimics in front of the mirror the bullet has magically appeared.

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Continuity mistake: When Doc holds the telescope and tells Clara that he'll fix it, right when they date at the festival the position of the telescope changes between the front and back shots.

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Continuity mistake: After Clara pulls the emergency pull cord she jumps out of the train with her gloves on. From the immediate opposite angle her hands are bare. (01:26:04)

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Continuity mistake: When Marty is about to duel against Buford he is inside a house peeping through the window, pulling the curtain open. The position of his hand and the opening of the curtain differs between shots.

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Continuity mistake: Buford spills the spittoon on his shirt, but when he lassos Marty his shirt is dry and clean.

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Continuity mistake: When Guzman runs into Smiley wearing several masks, Smiley knocks him out. On the floor, Guzman's head is facing straight-up. In the close-up, it's tilted sideways.

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Continuity mistake: Before Cricket arrives, Pinocchio watches the 8 ball. The wide angle shows the painted 8 on the opposite side to where he is, but from Pinocchio's blurry POV angle the 8 has swapped sides and it's in-front of him. note: This mistake has nothing to do with the already listed one about the 8 ball. This one takes place before Cricket arrives.

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Continuity mistake: When 1985-Jen encounters her old self, 2015-Jen walks several steps further. When the angle changes, old-Jen has stepped back 4 meters to allow for both to stare at each other closely.

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Continuity mistake: When 2015-Lorraine takes the pizza out of the oven, the amount of green peppers decreases between shots. (00:33:22)

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Continuity mistake: When Jen finds out that she got married in the chapel of love, her hair swaps from perfectly brushed to totally messed-up between shots.

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Revealing mistake: Doc and Marty hide in the alleyway while the flying police car takes 1985-Jen home. Problem is, Doc stares in awe at the sky before the police car is in view.

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Continuity mistake: After Jen is taken to her home in the future, Marty and Doc are in the car. Doc places his left hand over his glasses, but when the shot changes he's got his pinky finger raised.

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Other mistake: Griff enters Cafe 80s and tells Grandpa to wax the car. Grandpa stands up and walks to the door, but Griff keeps looking at where he was standing before. This was due to the VistaGlide system of filming an empty space without stunts that could serve as cues as to where to look at.

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