Sammo

Continuity mistake: During the fight scene inside the bathroom of Club Hell, the biker dude throws Marcus against the second-to-last mirror, breaking it. He then does it again... again against the second-to-last mirror. That is back whole, shattering it again. A huge chunk of it, practically the whole right half of it, comes off. But in the next shot, there's a small hole only, same when you see it in the background later. The closer look at the mirror that breaks much more probably is supposed to be the one that Marcus breaks off-camera with the cabinet. (01:07:10)

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Other mistake: In the scene at the police department when Mike ends up pranking Marcus by pretending to flirt with his wife on the phone, the janitor keeps mopping the same small corner of the office for two minutes straight of screen time, and the same cops can be seen doing the same movements at least twice (for instance, one wearing a denim shirt and white tank top and one with a pink shirt). (00:56:40)

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Other mistake: Marcus and Julie identify the correct suspect; it's one Noah Trafficante (his last name literally means 'smuggler', so you know he's up to no good). The profile says, "WANTED. Reward; £18,000 Reward Armed and Dangerous." Barely a minute later in the movie, in a scene at the police station, Mike asks for his parole jacket and Francine tells them he works at Club Hell. (00:56:10 - 00:57:40)

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Continuity mistake: Marcus is showing mugshots to Julie on the computer. He gets on the mugshot of a "Trafficante, Noah," which turns out to be the right guy. He already hit "next," though, and the picture of a "Catrini, Robert" starts appearing. Julie tells him, "Go back, go back." Marcus is already on the profile of a "Leachman, Todd," but a single click brings him back to Trafficante. Catrini disappeared. Funnily enough, in a later flashback (when Julie, at home, holds a gun apparently for the first time and decides to go to Club Hell and see if she can single-handedly take on the Mob) the pictures are in the right order; Catrini came back. (00:55:55)

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Continuity mistake: Running suspect pictures, Tea Leoni tells Marcus that he's eating "flesh." Martin Lawrence's fingers change position on the sandwich between shots almost constantly throughout the scene. (00:54:25)

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Continuity mistake: Inside Mike's apartment, Julie asks Fake Mike who is the guy in all those pictures. In close-up, you can see some frames have been readjusted to look better; look at the ornate silver frame next to the picture of Mike with a basketball. The two frames were a couple of inches apart; now they are closer. (00:53:25)

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Continuity mistake: On the basketball court, Mike shows off nailing a three-pointer on his first try when the captain couldn't land any. When he looks at Will Smith's ball flying over him and into the basket, the captain has a cigar in his mouth, but Joe Pantoliano in the reaction shot that follows has none. (00:50:45)

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Continuity mistake: Marcus ends the phone call with Julie, saying, "Mike to the rescue." He suddenly has his left hand on the microphone. (00:35:00)

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Continuity mistake: There's a rubber flower (a toy sunflower with sunglasses) on Mike's desk. When Captain Howard answers the phone, it goes from fully straight and vertical to hunched over as the shot changes. Throughout the whole duration of the scene, the flower is straight in the wider shots with Pantoliano standing by the desk, and 'wilted' when the framing is focused on Martin Lawrence. (00:33:20)

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Visible crew/equipment: When Will Smith breaks through a window when the bad guy lurking at the madam's place throws him into it, in the second shot of the stunt (the one with the camera at ground level), the camera wobbles, hit by the debris right before it cuts to the side view. (00:33:05)

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Continuity mistake: Inside the Al Capone suit, Captain Howard asks the Bad Boys who the guy on the chair is. "Eddie Dominguez," says one. The captain is chewing gum, arms down at his side. In what's supposed to be an immediate follow-up, Martin Lawrence adds, "Yeah, the ex-cop." Joe Pantoliano in the foreground is taking a puff from a cigar instead. (00:29:05)

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Audio problem: When Noah and Casper follow Julia on the roof and then narrate to the audience her amazing off-screen escape out of their range of sight and fire, Casper says two lines ("I can't believe she made it!" and "Jesus!") without even moving his lips. (00:28:55)

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Continuity mistake: When Martin Lawrence is under the desk with the rotting corpse on top, on the couch behind him there is a document with a slight pink hue. The document is straight throughout the scene, except for the shot when Lawrence gets up, when it's tilted. (00:20:10)

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Continuity mistake: When Mike is being randomly racist against the two Hispanic cops in front of the police locker, Will Smith's hands are close to his body, thumbs up, and he is half a step behind Martin Lawrence. One of the cops answers him with a "yo mama" joke, but in the foreground Will Smith's hands are in a different position and Lawrence is more distant from him and slightly behind. (00:13:50)

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Continuity mistake: At the breakfast table, Marcus asks Mike, "Why you put me in this, man?" His son is picking a bit of food from the plate. The phone rings across the camera cut, and the sentence continues ("I'm with my babies"), but the kid's hand is off the table by his hip. He's back chewing on the food, with that hand raised only when, a few seconds later, the exact camera angle from before is used again. (00:11:35)

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Continuity mistake: When Marcus is trying to convince his wife to give him some in the morning so he can be lighter on his feet, Martin Lawrence is sprawled with his left arm over the pillows in close-up, but in the wider angle he is in a much more normal position with his arm by his torso. (00:10:10)

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Continuity mistake: In his first scene with Marcus and his wife, the lighting on them changes constantly between shots, and the same can be said for the position of Theresa Randle's hands on Martin Lawrence. (00:09:30)

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Continuity mistake: When Martina Lawrence calls the bulky carjacker on his side a "big Popeye chicken-eating motherf…," the gun popping in frame from the top is held by a left hand. When the scene is shot with the camera on Will Smith's side, the guy is holding his gun with the right hand. It switches again, left or right depending on the camera angle used. (00:02:35)

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Visible crew/equipment: When the bait hooker gets out of the car at the beginning of the movie, the lighting rig is reflected in the right car door. (00:01:55)

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