Continuity: In the scene where Somerset goes back to the fat man’s house alone, he cuts a sticker on the door with his switch-blade to get in. The first error is the sticker is on the inside and it says "Keep Out." The best part about it is the door opens inward. How did they put the sticker on the inside and then exit?

Continuity: When they are in the car with heavy rain, you can see the pedestrians are NOT using umbrellas or wearing raincoats. It’s also raining far harder on the left of the car than the right. In addition, Somerset is turning the wheel to the right, and yet they’re driving in a straight line.

Continuity: When Somerset is in the taxi on his way to the Library, he is wearing a blue and white shirt, yet when he arrives at the Library, his shirt is completely white.

Continuity: The amount of the name that is left on the door when the janitor is scraping it off changes - it goes from being Some.... to Somerset.

Continuity: The phone on Brad Pitt's desk changes position (parallel to the desk, then angled towards Brad Pitt, then angled away from him) several times when he first goes into his new office.

Revealing: In the scene where Det. Mills is chasing John Doe through the streets they end up in an alley, and Doe knocks Mills down with a crowbar. As Somerset runs up, Doe runs off and Mills drops back down to the ground and rolls off his side onto his stomach. As he does so you can see a red colored tube running from the back of his jacket/collar, across the back of his head to his forehead, supplying "blood".

Other: In the scene where Mills hears the phone ring while they are investigating the killer's house Mills runs down the hall way and slides on his knees to get the phone. You can clearly see the knee pads on his right knee.

Continuity: At the beginning, Brad Pitt gets out of bed and we see it's got a quilted cover on it. Then when he goes to answer the phone it's got a plain sheet.

Revealing: When Freeman "slaps" Spacey in the desert, he misses his face by about an inch.

Continuity: When the "lust" guy is being interviewed, Morgan Freeman throws a photo down on the table. He throws it such that from the interviewee's point of view it should be angled with the top side to the left, or fairly straight, but when we see a close-up of it landing it's angled with the top to the right.