Corrected entry: When Tom Hanks is removing his belongings, his son sees him unload a .45 calibre pistol. That type of gun was not available until 1940.
Correction: The classic shape of the semi-automatic pistol Tom Hanks uses is a 1911 series available in 1911 and onwards adopted by the US Army. In 1924 it was slightly revised and known as the 1911A1 series. Both were double action with 7 round magazines. Either gun looks very similar at a distance and were both available in 1931. Imfdb.org has identified the Tom Hanks pistol as a 1911A1. And the same for Daniel Craig's gun.
Corrected entry: In the diner scene, the Sullivans pull up while it's still light out, but while Tom Hanks is having dinner, it's pitch black.
Corrected entry: In the scene where Paul Newman finds one of his people dead in his car in the rain, the guy slumps on the steering wheel on the horn, supposedly sounding the horn. The whole scene goes silent, and the firefight starts. You can still see the guy laying on the horn when the scene ends, which means that during the whole firefight, the car horn was sounding.
Correction: Horns of that era didn't stay on when you "lay on the horn", the horn would go "meeeep." and die out. They are not like modern horns that can go on and on in one long continuous honk.
Corrected entry: After the shooting at the diner, Sullivan is driving away with his son. At some point Sullivan drives off the road into a farmer's field. In the overhead shot of the car driving off the road into the field you can clearly see another set of car tire tracks from a previous take.
Correction: Why is it automatically assumed something like this would be from another take? Isn't it possible that the existence of preexisting tire tracks may have influenced his decision to turn there in the first place?
Corrected entry: After his wife and son are murdered, Sullivan drives overnight to Chicago. He then goes straight to see Frank Nitti. How then did John and Connor Rooney get to Chicago in time to eavesdrop in the next room? They must've passed Sullivan on the road.
Correction: It is entirely possible that Connor had anticipated Sullivan's trip to Chicago. Additionally, there is more than one route to Chicago and Connor may have known a shortcut or simply traveled faster than Sullivan, like Connor may have chosen a mode of transportation that was faster than Sullivan, for example, a train.
Correction: It took time to stop and look for Conner before he left for Chicago. He finds Mr Kelly instead, who offers him 25K to leave and go to Ireland. Mike shoots him in the face as a message to Mr Rooney.
Corrected entry: At the scene in the beginning of the movie where Tom Hanks is kneeling by the coffin, look at the coffin filled with ice. If the ice 'preserves the body' as he says, then why is the coffin by the fireplace?
Correction: This is not a "movie mistake" but a placement mistake "in the movie." At least it seemed intentional (in the film), as that was also the head of the room, and it WAS the middle of winter, and was pretty cold out, so you had to have a fire going for all those people. Why do you think there was so MUCH extra ice?
Corrected entry: When Hanks and the kid leave the farmhouse after Hanks heals from the bullet wound, the trees in the background are fully green - but when they go back to the city, it's winter again.
Correction: It doesn't snow everywhere. It is very common to be in one place where there is snow/winter-like conditions, yet go down in elevation a bit and conditions are completely different (trees are green with no snow).
Corrected entry: After Tom Hanks and his son leave the house (right after his wife and son have been shot dead), he walks past his son towards the car. When he gets into the car, the son is already sitting in the front seat. Quick little boy.
Correction: Tom Hanks is holding a brown bag (visible in a short second) while he's talking with his son outside the car. The moment after when the son is already seen inside the car, Hanks is placing a black suitcase on top of other things. Presumably, Hanks has come back from the house again.
Correction: When Tom Hanks leaves the house with a brown suitcase, he slams the door behind him. The black case he puts on top of the brown one when Michael is in the car is the case that holds the Tommy gun. He must have gone to the garage to get it after he put the brown one in next to Michael.
Corrected entry: When Jude Law's character is first talking to Tom Hanks in the diner, he orders a cup of coffee. They talk for about 30 seconds with the camera going back and forth between Hanks and Law. In one shot, there's nothing on Jude's table, then in the next shot of him he has a cup of coffee in front of him.
Correction: If you listen carefully when the camera is on Tom Hanks, you can hear the sound of the cup and saucer being put on the table.
Corrected entry: When Sullivan shoots Maguire at the end of the movie, there is no blood/bullet wound in Maguire's back. When the camera zooms out at the end of the scene, there is no pool of blood on the floor where Maguire is laying.
Correction: If you look closely you can se a bullet hole in the back of Maguire's head right below where his hair ends. It is visible when Maguire is on his knees.
Corrected entry: When Tom Hanks is driving into Chicago, there is a ball field with light poles (for night games) in the background. Ball fields were not lit for night games in 1931.
Correction: Lights were used - see http://www.iowacubs.com/asp/history.asp.
Corrected entry: Sullivan shoots Jude Law's character with a handgun in the hotel, but when confronted by Law by the Ocean House in Perdition, Law has scatter shot wounds as if he were shot by buckshot from a shotgun.
Correction: One bullet hit a crystal vase which shattered and hit his face.
Correction: Unless you're talking about a different gun, Michael Sullivan uses a Colt M1911A1. The M1911 has always been a .45 caliber weapon. The M1911A1 became available in 1924 (and still a .45).
Bishop73