Continuity: After John has had his eyes changed and the cops send the spiders into the rooms, there is a shot of John kneeling down. Behind him, the fridge is open, yet a few shots later he crawls past the kitchen and the fridge is then closed.

Continuity: At the beginning of the film when Tom Cruise and Colin Farrell first meet, in one shot Colin Farrell is standing about six foot away in the following shot he is really close to Tom Cruise.

Continuity: When John runs into the alley he runs past a slightly burnt out car, but in the following shots the car is on the opposite side of the alley.

Continuity: At the beginning of the film when Howard Marks goes out for the paper, he walks down his steps outside and reaches the bottom, twice.

Continuity: When John Anderton is fighting off the agents in the car factory, he does a backflip, and then jumps for the approaching walkway, but if you look closely at the floor, the agents feet are visible, therefore signifying they arrived a little early, and stopped.

Continuity: When John is in the Precog chamber, and Agatha grabs him, he is on the small platform, yet when Wally comes in if you slow it down, he is no longer on the small platform.

Continuity: At the beginning of the film, when Anderton and the crew go up on the rising platform, you can see a guy approach the platform, and in the following shot he is approaching the platform again.

Continuity: In Containment, Anderton asks the sentry about Agatha's missing prevision. The sentry says, "For that, we go for a ride," while facing the pipe organ. The camera cuts to a wide shot of the plank extending and the sentry is now facing away from the organ.

Other: Leo Crow grabs Anderton's gun and they each fight for control of it. Crow succeeds in forcing Anderton's hand to pull the trigger, killing Crow. The problem is, right after the gun is fired, we see a shot of Anderton with his arm fully extended and with his entire hand holding the entire gun, as if he had aimed and fired the gun himself. Such a sequence of events is at least totally illogical if not physically impossible.

Continuity: During the lover-husband scene, when the lover and the wife are staring at the husband holding the knife, they keep changing positions from far away to close to each other depending on the shot.

Continuity: When Fletcher is explaining to Witwer about John scrubbing the images for clues for the Marks murder, Jad puts his hand up to his chin, but in the next shot his hand is down.

Continuity: When Witwer looks at the prevision with Agatha in the mirror it's not broken, but during the murder it is. The prevision was not altered until the time of the murder was altered by John's delay, so the killing was not 'a different one' until after that point, yet the borken mirror error occurs before time runs out, making it an inconsistency with prevision.

Visible crew/equipment: After the scene in the car factory when Anderton drives up to Hineman's place, he parks his car and opens the door. When he opens the door, you can very easily see a camera manbent down reflected in the car door.

Continuity: In the scene when Anderton escapes out of the Maglev Car, we see him jump into a room full of gymnasts. He is on the floor with his legs up in the air, then we see him lower his legs. Yet, in the next shot his legs are back in the air again and we see his legs go down again.

Continuity: During the film we see huge highways far above the ground and skyscrapers so tall they have major roads running down them -- all in Washington, DC. But at the end of the film we see a night-time panorama of Washington, and the only tall structure is the Washington Monument.

Continuity: When the Pre-crime agents break into Laras house to catch John, they barge in and surround him, when you see the man with the head piece it is fully extended at the time but when the go to place it on his head the headpiece is not extended untill the agent activates it.

Other: When Witwer is killed, he actually reacts to the impact on his head before the shot is heard. We are standing mere feet from the incident, so no 'speed of sound' delay applies. It's an obvious sound error during editing.

Continuity: During the hovercrafts scene, Anderton enters a room where a kid is playing sax. The kid runs away and leans on the wall, but from a back shot he is seen close to the door. He keeps moving between the wall, door frame and aisle, in the rest of the front and back shots.

Continuity: During the lover-wife-husband scene, the lamp on the night table keeps moving all the time: sometimes slightly away from the bed, others a bit of its screen touches the head rest, and in some angles half of the lamp's screen is touching the bed.

Continuity: When we see the Leo Crow previsions for the first time, we see the numbers "9" and "6" backwards because we are seeing the previsions from behind the screen. But in the cyberparlor we see the previsions from the same side that Anderton and Riley are watching them, and the numbers are still backward.