Continuity: In the crane scene, the crane operator gets on the radio and says to shut down power at the generator. When the chief arrives, he tells another cop to call the power company and have them cut the power to the entire block. What good would that do if the crane is powered by a generator? Submitted by Guest

Continuity: In the crane scene, the first damage shot shows the I-beam that is hanging from the crane crashing through the windows as everyone hits the floor. In a following shot, the boom of the crane takes out the floor below. The opening shot of the scene shows that it's a fixed boom tower crane. How did the boom get lower than the I-Beam was in the first shot? Submitted by Guest

Continuity: When Venom blows the cab's roof, there's a back shot of the cab from above and MJ is nowhere to be seen. The shot is clear and long enough to show the back seats. Furthermore, MJ is wearing a white shirt and, since it's night time, there's enough contrast to show that she is not crouching, nor hiding, but is simply missing from the CGI shot. Submitted by Sacha

Factual error: During the fight scene with Sandman in the armor car, the Terminal Tower can be seen in the background, which is a landmark in Cleveland, Ohio (where the scene was shot), not in New York city. Submitted by ctown28

Continuity: When Spider-man is in the bell tower, removing the symbiote, it's raining and dark outside. At the same time Eddie Brock is in the church down below and praying. You can see out of the front door of the church and it is bright and sunny outside. Similarly, every stained glass window is lit up. How can they be lit up if it is dark outside?

Plot hole: Flint Marco has his whole body turned into sand including his belt buckle and any other metal he happens to be wearing. If all of this turned into sand then why was the locket fine without it turning into sand as well?

Continuity: During the final fight scene, Spiderman is talking to Mary Jane while Harry is flying around. There is a shot of the Sandman about to clap his hands together around Harry. As the scene cuts to Spiderman taking off to save Harry and cuts back, Sandman's hands are much farther apart than they were before the cut. Submitted by geoffrey schick

Continuity: In Harry's hospital scene, in one shot there is a medical device with tubes next to his pillow. In subsequent shots there are tubes only minus the device. In a later scene, when Harry is getting his memory back, his reflection of the hospital scene again has the medical device.

Continuity: During the scene on the bridge where MJ breaks up with Peter, MJ's hair is tied behind her head with a few wisps hanging down and her ears visible whenever she is shown from behind. However, whenever MJ is shown in her own close-up during the same conversation, her hair is down loosely and her ears are completely covered up.

Continuity: The stickers on the board in J.J. office change from when Peter first goes in and when Eddie and Peter leave.

Continuity: The aerial view of the slime falling on Eddie shows no door or light coming from behind him. However, in the close shots, there's an open big door behind reflecting a lot of light. Submitted by Sacha

Continuity: During the battle among Venom, Sandman and Spider-Man, we see a news reporter with an English accent. She is narrating the fight, standing to the immediate right of her cameraman, who is pointing his camera skyward, at the fight. The reporter begins voicing her concern over the outcome. There is a cut to a TV showing the news report, where we see her finish her thought. Except we see a head-shot of her, and not the shot of the battle we should be seeing, considering the positioning of the camera.

Continuity: At the police station, Garret places the picture of a criminal on the desk, then Flint's picture on top. Peter takes the top picture and walks away; but in the background 2 photos can be seen laying on the desk. Submitted by Sacha

Continuity: In the scene where Gwen sees Peter in the restaurant she places one hand on his shoulder. The camera cuts to Gwen's face and she has both hands clasped together in the shot. The shot cuts back out and her hand is instantly down on Peter's shoulder. It cuts back to Gwen one more time and both of her hands are back up near her face. Submitted by Nick Bylsma

Revealing: When the sand man is in the truck of sand and the cop climbs up to catch him, you can see the edge of a platform uncovered. The platform is clearly there so the cop could walk without sinking - he stops right where the platform ends.

Revealing: During the hanging cab scene, while Spidey and Venom are falling, it's easily noticeable that Peter's face's been badly pasted on a CGI body. Furthermore, in some shots his real face has been replaced by a bad CGI animation. Submitted by Sacha

Continuity: There are several scenes in the film where Peter's 'Spider-Man' costume can be seen sticking out from the top of his shirt, both the 'normal' red/blue version and the black symbiote version. The spider chest-emblem is visible in each of these scenes, but the emblem is smaller and much farther up the front of the costume, almost near his neck. Invariably, whenever he switches into full 'Spider-Man' costume, the emblem has reverted to its original much-larger size and is much farther down the front of his chest, level with his pecs.

Continuity: In the scene where Peter asks Harry to help rescue M. J. (from Venom and Sandman), a sitting chair appears to the left of the painting of Harry's father in the last shot of Harry. There was no chair in the other shots of this scene. The sitting chair was by that painting for all of the movie except those few shots.

Continuity: When Peter meets Mary Jane backstage after her first performance, her hands continue to move on and off of Peter's shoulders between shots.

Continuity: At the end of the movie MJ is holding onto Harry's hand with both of her hands. There's a quick cut back to a view from farther away. Peter and Harry are in the same positions, but one of MJ's hands has instantly moved down around Harry's chest. Submitted by Nick Bylsma