Visible crew/equipment: At the Lighthouse Lounge, when Chunk opens the door and sees the bullet riddled ORV, Chunk's reflection on the back of the vehicle moves to the right, but there is another moving reflection to his left.

Visible crew/equipment: When Francis and Mama Fratelli carry the bagged corpse to the ORV, in the close-up the reflection of a crewmember, who moves his head, is visible on the surface of the black vehicle.

Continuity: In the attic, after Chunk breaks the frame, in the overhead shot there is a long piece of glass still attached to the frame, but as Mikey and Chunk kneel to lift the frame, that long piece of glass is gone.

Continuity: After letting the air out of Brand's bike tires, Mouth shuts the picket fence door (the door near the boat) and then Mikey begins to ride away on his bike, but next shot as he rides past, that fence door is wide open. (There are two fence doors - one near the boat and the other one Chunk used earlier.)

Revealing: During the police chase, when the Fratellis turn left in the close-up (just before the shot of Mouth's TV), sitting in the passenger seat instead of Francis we see a man who is taller, wears no glasses and is at least 25 years older than our Francis. Also note the man who is driving instead of the real beloved Mama Fratelli.

Continuity: When the Fratellis leave the County Jail, the first police cruiser which makes the U-turn has a smooth chrome bumper with only a recessed license plate at the center, but when they make the first left turn, that squad car now has a chrome bumper with driving lights at each end and bumper guards on both sides of the license plate. It's funny how when they make the next right turn, the car style actually changes mid-turn, between shots - just before the second police cruiser joins the pursuit.

Revealing: At the start, when Data is being pulled towards the chained orange drum, due to the angle of the close-up, we see that the soles of Data's Nikes are not actually touching the ground (since there is a rolling mechanism under his feet).

Continuity: At the start, when Data shoots the suction dart at the orange drum, the drum's scratches, dirt and dents are different in the following shot, as it is being pulled towards Data.

Continuity: During the high speed police pursuit behind the Fratellis, once the second police cruiser pulls behind the first, the squad cars' positions change - in some shots the second police cruiser leads and in some shots the first, just note the different bumpers.

Continuity: At the start, when Data's suction dart attaches itself to the orange drum, there are tall metal pieces of junk behind the grey drum which disappear, as the orange drum is being pulled forward toward Data.

Continuity: When Data shoots the suction dart at the orange drum, he stands in front of grey drums and other junk, but in the close-up as Data opens the belt's dart compartment, the area behind him is completely different.

Continuity: When Francis Fratelli pours the gasoline in front of the County Jail, there's a parked police cruiser at the corner of the building next door, in front of its windows. After he ignites the fire, there is a close-up of the ORV's tire as the vehicle pulls away, and in the background that squad car is gone, but in the next overhead shot that parked police cruiser is back.

Continuity: During the jail escape, when Jake is trying to open the locked door, there is a close-up of Mama Fratelli shouting, "Jake, up!" and we see a police cruiser parked on her left. When they leave, in the overhead shot that space is empty, but next shot a vehicle is there, though it isn't a police cruiser.

Continuity: On the beach, when Mr. and Mrs. Walsh leave the van and then rush to Mikey and Brand, Mikey's knit hat is pulled down low over his ears, but next shot it is folded up above his ears, though he never touches it.

Other: When the Inferno is in the cave the vessel's sails hang or are furled a specific way on the masts, but when the ship sails past the beach the rigging differs significantly.

Continuity: When the kids first see the Inferno, in the wideshot facing all of them, Brand stands between Stef and Mouth with Data and Mikey off to the side, but next shot facing the ship Brand is now at the other side hugging Mikey.

Continuity: When the kids first see the the skeleton bone keys, Stef and Andy are arm in arm with each other, but next shot facing the skeleton Stef is standing behind Andy.

Continuity: When the first police car makes a U-turn, to chase the Fratellis, the squad car's front passenger window is rolled up, as the officer's hands are on the steering wheel. But in the next interior shot, facing that window, it's rolled down - there's even a black wire hanging over the bottom of the open window, to the left.

Continuity: After Chunk does the ‘Truffle Shuffle’ and Mikey releases the bowling ball, we see the horizontal piece of wood that is painted red and attached to the porch rail, from which the silver bucket is lowered. It’s seen in many shots. What’s funny is that in the first shot of the Walsh’s house, after the Fratellis drive past at the bottom of the hill, that piece of wood is white, because it hasn’t been painted red yet by the crew.

Revealing: When all the kids are in the diner and Chunk knocks the water jug over, Mikey starts to bang on the ground with a bar. When Brand stops him Mikey calls him by his real name Josh. This is verified on the DVD by Sean Astin himself, in the commentary.