The Bodyguard (1992) - 32 mistakes

Continuity: When Delaney hires Frank there's a sprinkler rotating in the background. When the camera angle changes it's gone, but at least the hose that runs across the lawn should be in the picture.

Continuity: When Frank impresses Delaney with his knife-throwing skills he starts with some antics which even endanger Delaney. Delaney tries to get out of the way and waits next to a big garden bowl. When Frank asks him not to stand there either the bowl is gone.

Continuity: When Frank comes to Rachel's house for the first time he talks into a rather decrepit intercom with some bent wires hanging out. In one shot, when he says "This is Alexander Graham Bell to see Miss Marron", the wires are hanging straight.

Continuity: After Frank has moved into Rachel's garden house he comes to check Nicki's apartment. When he looks at a wall with some photographs there's a close-up of an old picture of Rachel and Nicki performing. In the close-up there is a pattern of light and shadows on the wall which was not only not there in the previous wide shot but which is also only visible on the wall and not on the photograph.

Continuity: In the scene where she takes him into the boutique, she goes into a dressing room with a curtain across the opening. The shot pans from looking over the curtain, where it has 5 ruffles, to Kevin Costner and then back over the curtain which now only has 3 ruffles even though she hasn't come out.

Continuity: When Frank is in the pool house watching Rachel's music video, one minute he is leaning forward in his chair to watch it, and the next you see him sat back in the chair and then he starts to lean forward.

Continuity: In the first shot in the dressing room of the Mayan there are some white and some pink flowers on the table in front of the mirror. In the next shot the pink flowers are gone.

Plot hole: Rachel's and Sy's idea to perform at the Mayan took Frank by surprise. Later, when the situation escalates, he makes his escape though a secret side door (not the "official" back exit where he sends Tony), where earlier he had directed the driver with the limo. As he hadn't even heard of the club before and as he had no chance to check it out while they were there it's not quite clear how he acquired this detailed knowledge of the location.

Continuity: In the scene where Frank puts Rachel to bed. He moves some dolls aside by pushing them, and the dolls fall over. In the following shot, where Rachel is in bed, one of the dolls is sat up straight.

Continuity: When Tony attacks Frank in the kitchen Frank is eating an apple. We see him cutting off and eating two slices, but in a close-up of the apple only one small slice is gone.

Visible crew/equipment: Towards the end of the fight in Frank's kitchen, when Tony pulls the knife out of the holder, look at the bottom right side of the glass front of the cupboard in front of a pile of plates: There is a beautiful reflection of a crew member in a white shirt giving signs with his arm.

Other: It's not really a mistake but when Rachel is our running and she asks Frank to walk with her, if you look in the background, there are 2 "ghosts" walking hand in hand behind them.

Continuity: In the scene where Rachel stops her jogging and asks Frank for a date she has her natural skin color. In the last shot of the scene, when she leaves, her face has the almost Michael Jacksonian off-white make-up which is more typical for the rest of the movie.

Continuity: The bar scene of Rachel's and Frank's date contains a lot of editing flaws: 1) Rachels position switches between both arms down and chin rested in hand, 2) in one shot from the back we see her lifting her glass to her mouth, but when the camera angle changes she's not drinking, 3) the way Frank holds his glass switches between full hand and thumb plus two fingers, 4) Rachel's bangs change between straggly and fluffy.

Continuity: At the end of their date Rachel and Frank come to his place. We see her checking out his basement with a wine glass in her right hand. When she picks up a picture from a shelf she holds it in both hands without having put down the glass before. A little later we see the glass standing on the left side of the shelf where she obviously couldn't have put it down. Finally, when she takes the sword from the wall the glass has miraculously moved to another shelf.

Continuity: In the scene in Frank's basement the ends of Rachel's scarf change: Before she picks up the sword the right end is longer, afterwards the left end. In between there's a close-up where she is holding the sword in front of her and where both ends are at level.

Continuity: At the end of Rachel's and Frank's date the camera pans from the sword over some of his basement items on the shelves to the couple nestled between the sheets on the sofa, where Rachel states that never in her life she has felt as safe. However, when they wake up in the morning they are lying in his bed upstairs, and Frank opens a window that overlooks the garden. Considering their obvious comfiness downstairs this change of location can't be explained.

Continuity: At the party in the Miami hotel Portman's bangs change between pulled back and covering his forehead.

Continuity: In the scene at the Miami hotel, when Rachel and Portman are in her bedroom, someone gives Frank a fresh drink of orange juice. He takes a deep sip, the camera cuts to Rachel's bedroom door, and when it cuts back to Frank the glass is even fuller than when he got it.

Continuity: When Frank makes a control round through the Miami hotel kitchen he beats up a creepy but nevertheless innocent guy. When he is done the collar of his jacket which had been neatly folded down throughout the manhandling suddenly stands up.