Peter Pan (2003) - 165 mistakes

Continuity: When John says, "You offend reason sir," Peter floats up. The large light fixture is hanging from the ceiling. However, in the next shot facing Peter when he says, "Just think happy thoughts," where is the light fixture? It's gone so Peter can fly around the ceiling, but it's back again in later shots.

Continuity: Unable to make his shadow stick Peter is upset and when Wendy surprises him he zooms up to the ceiling and bangs his head. In this shot the light fixture hangs flush with the ceiling under a decorative medallion around the base. Later, when Peter floats to the ceiling after John says, "You offend reason sir" the fixture now hangs way down on a very long chain.

Revealing: Aboard the Jolly Roger, in the very next shot after Smee jumps overboard, Peter twirls his sword in mid-air and catches the hilt. This is not the same sword he uses in the previous or following shots. This sword doesn't have the gold hand guard, so as to be able to catch it easily. The hilt on Peter's sword is in the shape of a leaf and the hand guard is the leaf stem.

Continuity: After Wendy says, "I should like to give you a kiss," and proceeds to give Peter the thimble, it is only now that Peter's 'kiss' for Wendy is on the garment he is wearing. It is not on his garment in all the previous shots of Peter.

Revealing: At the bank there is a close-up of Mr. Darling with Sir Edward Quiller Couch standing behind him to his right, just as Nana, et al. are about to collide with the bankers. The camera pans in for the extreme close-up of Mr. Darling, who makes a horrified face. Later, when the Darlings are at the party Nana bursts in. Sir Edward again stands to Mr. Darling's right. Mr. Darling puts his hands up in front of himself and the next close-up shot is the very same shot from the bank. Part of Sir Edward's hair is edited and the background is digitally augmented.

Continuity: In the scene right after Pan has fallen, the same pirate grabs Wendy twice, once right after Hook takes Pan by the throat and once after he hits Pan on the head with his hook.

Continuity: Tinker Bell comes in through the window, zips around the nursery and flies to the bookcase, knocking the two statue bookends and all of the books in between onto the floor leaving an empty shelf. Yet moments later Peter enters the nursery, follows Tink towards the hallway, passes the bookcase on the way and now there are other books on the top shelf.

Deliberate "mistake": Wendy gets a needle and thread, then shows Peter the needle. As she says, "This may hurt a little," she shows the sharp needle to him. When she does the light in the room becomes brighter at this point (not a deliberate pun) as compared to the dimly lit nursery until this moment. It stays brightly lit until they leave for Neverland.

Deliberate "mistake": The window in the nursery changes dramatically in these shots. After Peter says, "We can't both have her lady," he shuts the window from the outside and the bottom pane is placed on the OUTSIDE of the top stained glass pane. This is obviously done specifically for this shot so Peter would be able to shut the window and try to keep the Darlings from opening it. However, in the next shot as the Darlings succeed in opening the 'stuck' window, the bottom pane is on the INSIDE of the top stained glass pane.

Continuity: When Wendy awakens, she opens the door to find the Lost Boys standing there looking 'lovable'. The shots from the interior shows Wendy's hand on the door with her arm outstretched while she remains inside. Yet in the exterior shots she is standing outside the door frame.

Revealing: Coming back to look for his shadow, Peter flies into the nursery window and he steps onto the wood floor. In this close-up Peter moves his left foot and as he does Jeremy Sumpter's real shadow is seen under his foot. His shadow is also seen when he is in the hallway then motions for Tink to be quiet, his arm shadow moves across his chest.

Continuity: When Hook is telling Pan of Wendy leaving they look down at Wendy fighting with one hand on her hip and one holding the handle of the sword, the next shot in slow motion she is holding the handle with both hands.

Revealing: Aboard the Jolly Roger, after Hook cuts the rope binding her, he says, "She told him stories. He taught her to fly." In the following extreme close-ups of Hook and Wendy's faces, the modern-day lingual braces, which is bonded to the back of her front teeth, is perfectly visible. It is also visible later, when Hook shoves her down, as she is beside Peter for her final fairwell.

Continuity: When Peter struggles with his shadow on the dresser in the hallway, in the first shot Peter's right foot forces the red table runner to slide off. Yet in the next shot the wrinkled runner is still on the dresser, though it starts to fall with Peter as he goes down. In the next close-up of the drawer, the runner and Peter are still on top and both fall again, albeit differently. But when Aunt Millicent closes the bedroom door the wrinkled table runner is on the dresser again as she walks away and when Wendy gets needle & thread the runner is neat and flat.

Visible crew/equipment: Aboard the Jolly Roger after Smee jumps overboard, Peter flies up to catch his sword and a pirate who yells, "I got him!" grabs hold of Peter's ankle. When Peter flies off in the wide shot, as the pirate holds his leg, he passes the mast and not only are the four wires attached to Peter's backside pleasingly visible while he flies, the two wires at the pirate's shoulders are visible as well.

Revealing: When Peter leaves his throne and says the line that begins "Discipline..." the lost boy who tumbles in on the left is wearing white and black sneakers.

Revealing: Peter has a cut on his left arm and after dancing with Wendy Peter shouts, "Go home and grow up... take your feelings with you!" then Peter flies off. As the narrator says, "Peter did not want Wendy to leave...he visited Wendy's home..." when Peter arrives at the nursery window, the long cut on Peter's left arm is GONE, not changed in any way, just simply gone. It reappears later when Hook shouts, "It's Hook! He flies!" only to disappear again!

Continuity: After Wendy admits to being Red Handed Jill, Peter walks towards her and begins to overwhelm Wendy with his blade and knocks her sword out of her hand. In the first couple of shots facing John, Michael and Lost Boys, they are positioned a certain way. Yet when Peter's blade is at Wendy's throat the boys are positioned very differently.

Continuity: John and Michael dash out of the cave with the crocodile and run. After John yells, "Happy thoughts!" the exact same shot is seen twice as they run together. Then when John and Michael step into the traps, each are snared only on their right leg. However, in the next shot both of their legs are trapped as they hang upside down.

Continuity: There are two dolls perched on either side of Wendy's headboard in the nursery. When Tink grabs hold of Wendy's hair, pulls her back towards the bed and slams her into the footboard, the doll on the left falls, yet the doll is back up on the headboard in the following shots. While Peter speaks with Wendy throughout these shots the positions of both of the dolls change.

Continuity: In the nursery, behind Michael's and John's beds there are many small soldiers and horses perched on the chair rail (decorative molding). The position/amount of these soldiers and horses differ significantly in consecutive shots within the scene before they leave for Neverland and also within the scene when they eventually return.

Revealing: After receiving Wendy's real kiss aboard the Jolly Roger Peter quickly flies up and proceeds to fly back down. As he swoops down to the deck and lifts up two swords, most of the kids' eyes are not in sync with Peter's movements.

Continuity: Tinker flies into the nursery, zips around the room and in the shot from under John's bed goes to the wardrobe with the hanging clothes. Then in the close-up she plunges into all the readily available pockets. These clothes which are seen in many following shots too are quite different in the later shots, not to mention the significant difference of the close-up with all the pockets in perfect position for Tinker Bell to fly in and out of.

Continuity: While duelling on the Jolly Roger, Wendy and John back up into each other, turn their heads to look at one another and scream face to face. In the next shot Peter flies towards Hook and in the background on deck below, Wendy and John are standing apart and facing the same way. Then in the next shot they are still back to back while screaming face to face.

Continuity: On the Jolly Roger, Hook slashes one of his men and asks, "Any other contributions?" The pirates are positioned differently in the shots facing Hook and in the shot facing themselves.

Continuity: In the Black Castle, when the croc appears outside the gate on the rock, we see in the left corner of the screen the children in the boat with Wendy standing up, next shot is of them all jumping to the side of the boat looking out over the water to the croc, the very next instance, when the croc is climbing down off the rock, the children are now back in their original positions again in the boat.

Other: At the very end of the movie, Peter says "to hear stories about me" and we see Wendy and her eyes are moving as if watching him fly away, but when it cuts back to Peter he then starts to fly away.

Visible crew/equipment: At the Black Castle, Wendy, John, Michael and Tiger Lily jump down into Smee's boat. In the wide shot as they land in the boat, seen under John's gown at his backside is an outline of the square apparatus and Wendy's nightgown is gathered up and pulled at her back from the line that is attached for her descent.

Deliberate "mistake": As the Darlings and the Lost Boys laugh in the nursery, the narrator says, "There could not have been a lovelier sight...except a strange boy who was staring in at the window." When the camera pans out through the window Peter's back is visible at the right of the window. This is not Jeremy Sumpter.

Continuity: As Wendy, John and Michael float at the ceiling, Wendy asks, "Oh! What about mother?" and the hat boxes are visible on the wardrobe, with the square on the left. Yet, when they all exclaim, "Pirates!" the round hat box is now on the left.

Continuity: When Tink flies into the nursery and zips around searching for Peter's shadow she flies into Nana's house and in this shot Michael's bed is more than a foot away from the nightstand. In the next overhead shot Michael's bed is much closer to the nightstand. Michael's blanket differs considerably as well.

Continuity: After the children return home, when Mr. Darling welcomes the Lost Boys to the family the boys all jump on him and then Michael pours the treasure onto the floor. In these and the rest of the shots the small red rug is in the middle of the floor, a completely different position than the previous shots, where it was under the table.

Continuity: When the children return home, in a wide shot as they look around the nursery while their mother sleeps in the chair, the table's two legs are positioned near the outer edge of the small red rug. When Mrs. Darling walks out of the room the table is pushed farther back, close to the bookcase. The little rug near the corner curio changes between shots as well.

Continuity: The position and characteristics of the cut on Peter's forehead change from the time Hook slices Peter with his hook, as they fly over the Jolly Roger, to many of the subsequent shots. The two trails of blood change drastically as well.

Continuity: When Wendy is tied up aboard the Jolly Roger the amount and/or position of rope around her differs greatly between shots. For example, when Hook shoots Noodler it's wound around 6 times - on her left it's 3 over the wood and 3 under, yet when Hook cuts the lines it's wound 5 times - on her left it's 4 over the wood and 1 under.

Continuity: When Smee places the pocket watch down on Hook's desk, in the close-up Hook smashes it twice and pieces of glass, metal, etc. go flying everywhere. Yet in the next front shot the loose parts are positioned differently when Hook is about to smash it a third time.

Continuity: In the hallway Peter struggles with his shadow and while sitting on the dresser the large fan picture hanging above the dresser falls down onto the dresser top as a result. Peter still sits there and after Peter yells, "I've got you now!" there is a close-up of the dresser as Peter falls off and the back is seen but the large picture is missing. It couldn't fall forward as Peter blocks it when he sits there and it couldn't fall behind the dresser because the back has a lip on it. In all of the subsequent shots of the dresser and the floor the picture is not seen, it simply vanished.

Continuity: Wendy lifts her head after hearing Tink's noisy racket, so Tinker Bell flies into the table lamp and the tablecloth is on straight. When Peter flies into the nursery the tablecloth is crooked. In later shots the tablecloth is straight again.

Revealing: Wendy duels with Cookson, the tall pirate, at the Black Castle and slices his cheek in a close-up. The cut is actually on his cheek before the sword even touches him, though it wasn't there in earlier shots.

Revealing: At the Black Castle, just after Wendy shouts, "Who be you to call me girlie?" there is a shot of Peter flying between Hook's legs causing Hook to somersault backwards. However Hook begins to lift off the ground before Peter even reaches him.

Audio problem: Aunt Millicent checks on the sleeping children and in the shot outside the bedroom we hear the sound of her closing the door. However when she is startled by her true shadow we see the bedroom door has been left ajar.

Continuity: After arriving at the bank, the young letter carrier pulls out the envelope addressed to Mr. Darling and holds it out in front of him. Yet in the next shot facing Mr. Darling the letter is held the opposite way, in the boy's still outstretched hand.

Continuity: When Peter tries to attach his shadow the toys, loose books and stacked books at Wendy's footboard differ in the following shots. Wendy exclaims, "You can fly!" and the books in the wardrobe are also seen and when she climbs out of bed the books in the wardrobe differ as well. Throughout this scene in subsequent shots these things differ, with no one touching them.

Continuity: The pirate hat hanging on John's foot board first faces him, then faces the camera, the toys on the floor in front of Michael's bed, etc., change position between the shots of Peter entering the nursery and when Aunt Millicent opens the bedroom door, even though no one moved anything between these shots.

Audio problem: Peter tells Wendy, John and Michael, "There are mermaids! Indians! Pirates!" We hear the children repeat, "Pirates!" but their mouths do not actually say it.

Continuity: In the exterior wide shot, as Wendy opens the window of the nursery the curved window guard rail is seen being right up to the edge of the ledge below the window. In the shot from above as Wendy, John and Michael look up, the guard rail is not in this particular shot.

Continuity: Peter is on the cloud looking through the telescope to see the Jolly Roger. Peter says "let's get a closer look" to Wendy, Michael and John, and he does a front-flip with the telescope in his hand, in the next shot the telescope is gone, but then he has it again a minute later.

Continuity: After Wendy is shot by Tootle's arrow, while she lies on the ground the boys are gathered around her and Peter takes his "kiss" from under the neck of her gown. The "kiss" is looped onto the chain around Wendy's neck, but in the next shot Peter holds it without the chain. He could not have removed it from the chain, which is still around her neck, so quickly.

Continuity: While Wendy, John and Michael are walking home from school, the letter carrier passes by in front of them. In the wide shot the braided hair on Wendy's left is behind her shoulder, yet in the following close-up both sides with bows are in front.

Continuity: The inside of the front door of Wendy's house changes completely in different shots. 1. The interior shot after Wendy wakes up. 2. The exterior shot of Wendy standing in the doorway with the Lost Boys. 3. When Wendy wakes up aboard the Jolly Roger and opens the door. 4. When Wendy leaves the Jolly Roger and Hook waves goodbye.

Continuity: When John falls to the floor he slams into the toy house. In the wide shot he and the house stop moving with his feet landing near the toy house, whose front door is wide open as the camera shows Wendy and Michael through it. In the close-up however his head is near the house, whose front door just opens a bit.

Continuity: When Princess Tiger Lily finds the two boys hanging upside-down in a snare, she is looking forward at them, and then falls backward laughing and rolls down an embankment. When the two boys start yelling at Hook, they all look straight up to see them, though they should be a good ten feet from that spot. One may argue she went back to that spot when trying to retrieve her knife before the pirates caught her, but even then, she was holding the knife when she fell, and would still be far from the right mark.

Continuity: Just before Wendy and John begin sword fighting, Nana backs up into her doghouse. Two shots later, when John grabs his sword, Nana stands between her house and the dresser, but then two shots later - with her hind in the house - Nana walks out of the doghouse.

Continuity: After Wendy, John and Michael return home, from the shot of Wendy as she puts her sword in the toy chest, to the following shots, the amount of space between Wendy's bed and the corner of the wall on its left changes drastically.

Continuity: Aboard the Jolly Roger after Hook questions Wendy about the stories, he slices her ropes and holds his hook to her neck. The way he holds her differs depending on the camera angle.

Deliberate "mistake": After Hook orders the crew into the rigging, Peter lands on deck holding Wendy. There is a close-up of Hook's face as he walks back down the stairs, then the next wide shot of Cookson, the very tall pirate up in the rigging, is flipped. (The shot before he points the gun.)

Continuity: Aboard the Jolly Roger, when Wendy walks the plank in the close-ups the knot of the blindfold around her eyes is at the right side of her head, yet, in the overhead shots the knot is at the back of her head.

Continuity: When the children return home, the first exterior shot pans closer to show Mrs. Darling sitting in the red chair which is angled towards the window. In the next interior shots the angle of the red chair differs.

Continuity: As Michael points a sword at Smee on the Jolly Roger, in the close-up Smee hangs the jewels on Michael's sword and takes both guns out and shakes them around. Then in the side shot the jewels hang differently and he takes both guns out again.

Continuity: Throughout the scenes in which Nana is seen, the markings on Nana's face change in various wide shots and close-ups, due to the fact that different dogs played Nana.

Continuity: When Hook slices Peter at the Black Castle, we see very that Hook cuts Peter directly below the jugular notch at the neck. Yet in the following shots the cut is shown to be far below the original cut made nor does it have the same appearance within those shots as well.

Revealing: When Michael whacks the pirate in his groin, he bends over wincing in pain with his mouth open, in the next shot, though the pirate is bent over, his facial expression is completely different and is not in any discomfort. He does however stand at the ready for John's blow, which actually never even touches him, and the pirate's head starts to fly back after John's hands pass him.

Audio problem: When trapped underwater in the net at the Black Castle, Peter pulls out his knife from his small leather sheath underwater and we hear a metallic rasping sound which it should not make since it isn't scraping metal.

Continuity: Smee and another pirate are at the Black castle and the pirate wears a buckled strap across his chest. The position of this strap changes in different shots. When Hook shoots him, the huge bullet hole does not appear in the wide shot, only the close-up.

Continuity: As Peter hushes Wendy and explains, "...I shall never find her if she's dead," Wendy's bed is seen beside them. When Peter grabs hold of Tink and tosses her at Wendy's pillow, Wendy's blankets are positioned quite differently than the previous shot of it.

Deliberate "mistake": John yells, "I've got it! I've got it!" jumps onto his bed and we see the length of John's one blanket, mattress and bed frame near the other furniture. In the next two shots as John runs across his bed, the blanket at the foot of the bed is not only pulled all the way out, using what hung over the foot of the mattress in the previous shot, but another blanket is added for extra length. Most blatantly apparent is the span of this mattress and bed frame, to increase the running distance, in relation to the furniture around it.

Continuity: In the scene in the black castle where Hook is about to kill Peter he cuts Pan in the chest with his hook, in the next shot the cut is gone.

Continuity: When John wants to learn to fly, he flings back the covers on his bed. When he goes back on the bed to 'take off', the bed is made.

Continuity: Just before, during and after Wendy's inspection by Aunt Millicent and while eavesdropping, in subsequent shots the bow in Wendy's hair changes its position.

Deliberate "mistake": When Wendy and John are play duelling in their bedroom, in the first shot, John holds the sword in his left hand, but in the next shot, the sword is in his right hand when he hits the bookcase. The second shot is flipped, as we can see by the furniture arrangement and the medal on John's jacket that also switched sides.

Revealing: At the Black Castle, Hook slams Peter down on a rock, leans over him and proceeds to cut Peter's chest with the tip of his hook. Before the hook touches Peter's skin, we see a mark on Peter's skin where the hook is to begin its slicing, that was not there before. Then as the tip actually slices him there is no cut or blood seen, it obviously does not have any effect on Peter's skin.

Continuity: When Wendy says, "But...this is yours.", Hook pulls her up by her arm onto her knees and her hair goes from being straight down over her right ear, to the next shot, when it is again tucked behind her ear as it appears throughout most of the film.

Continuity: At the start, when Mrs. Darling plays the entry music for Wendy to tell her story, her hands lift up a little from the piano, but do not appear to move along the keyboard far enough for those notes to be played properly.

Continuity: After the Lost Boys fire their arrows at the Wendy-bird, the position of the arrows on Tootle's back differs in the front shot and back shot as they watch the arrow hit Wendy.

Continuity: The long cut on Peter's upper arm changes length, position and even its angle in quite a few shots when it is visible, in the Black Castle, followed by Peter and Wendy at the fairy dance and then after their own dance.

Continuity: When Mrs. Darling rushes back to the nursery, realizing that her children are home, she stands at the doorway facing Wendy, John and Michael and the blankets on Wendy's bed are very messy. However, when she hugs the children the blankets on the bed are spread quite neatly.

Continuity: When Hook has Wendy tell him the story of Peter Pan a pirate says, "I need a Wendy," and Hook shoots him. Then Smee says, "Very exciting. Two dead already," Hook does not put the gun away in the background, yet in the next shot he has no gun in his hand.

Revealing: When Michael is riding Nana down the hallway towards the bath, he is naked, though it is plain to see that his entire body is not seen even when he flips, it is simply skin coloring. This part of his body was digitally augmented, as he was filmed wearing a covering on his privates.

Continuity: As Wendy approaches the Lost Boys to give them their medicine, in the close-up they surround Peter begging to be killed. In the next wide shot Tootles pulls one of the twins close and puts his arm around him, though in the next shot they are positioned as they were in the first close-up. Wendy's necklace changes within these shots as well.

Continuity: During Wendy's farewell to Peter, when Hook pulls Wendy up she says, "Tis just a thimble," and right beside Wendy a pirate grasps John at the neck with his hand. In the next side shot as the pirates laugh, the pirate holds John around the shoulders with his arm, however, in the next shot the pirate still clutches John at the neck with his hand.

Continuity: When Wendy, John and Michael return home, in the wide shot as they look around the two swords in the toy chest, at the foot of Michael's bed, are visible. When they go to their beds Wendy places her Neverland sword into the toy chest, but the two originals' positions differ - the boys' Neverland swords are visible on their beds. When Aunt Millicent walks in with the Lost Boys, as the Darlings hug, the toy chest is visible and the swords are gone.

Continuity: In the nursery, John shouts, "I've got it! I've got it!" then runs to his bed and visible on the left are clothes that hang from the tri-fold screen which stands near John's bed. In the close-up of John's feet, as he runs on his bed to try and fly, one set of clothes from the previous shot is gone. When he lands on the floor, there is yet another set of clothes that hang under the outfit with the white ruffle as well and then as John flies out the window still another set appears.

Continuity: After Wendy admits to being Red Handed Jill, Peter holds his blade to Wendy's throat. In the first close-up Peter grasps the hilt so the sharp curved edge of the blade points towards the knuckles of his fingers. In the second close-up his hand grasps the hilt so that the sharp edge points towards the palm of his hand. (This has nothing to do with how his wrist is turned.)

Continuity: After Wendy sees John, Michael and the Lost Boys tied up she gasps in a wide shot, in which the pirates are spread out all around. A pirate puts a gag at her mouth and in the next close-up three pirates gather just behind the kneeling boys as Hook walks by to talk to Wendy with other pirates gathered round. In the next wide shot there are no pirates directly behind the boys and everyone is positioned the same way as the previous wide shot, those three specific pirates are in three different areas. Other pirates are in completely different spots as well between the close-up and following wide shot.

Continuity: When Wendy walks the plank she stands at the edge and as the camera faces her the brilliant sunlight from behind her highlights the plank and casts a long bright shadow in front of her, contrary to the dark wood plank in the overhead shots.

Revealing: When Peter flies into the nursery searching for his shadow, he follows Tink into the hallway. The red window draperies fit the width of the hall in this and other shots. However, in the close-up after Peter opens the drawer, he grabs his shadow as it flies up and the draperies are visible. In this shot, not only are the draperies much narrower, but the hallway ceiling is now much wider to allow the shadow to stretch while trying to get away.

Revealing: When Peter scares away the mermaids, one of them lifts her hands up and hisses at him. As she does the silvery make up is visibly smudged on the palms of her hands and at her right armpit.

Continuity: Peter, Wendy and the boys are on the cloud looking down on the Jolly Roger when Wendy comments, "She must do 12 knots under full sail." In this wide shot we see Noodler standing at the snow topped rail between the cannons. John then views Noodler in a close-up and the snow is different, there are lines lying on top of the cannons, etc.

Continuity: When Wendy tells her story while tied up on the Jolly Roger, there is a front close-up of Noodler who raises his 'left' hand to ask, "Was one of them pirates called Noodler?" Then there is a back shot of Noodler who is still raising his hand, but it is his 'right' hand that is raised and then moves to the front of his body. It is not the wart pirate's hand in the back shot, whose hand is on Noodler's shoulder in the next front shot.

Continuity: The dirty smudges all over Peter's body either disappear altogether or change shape, position and/or shade in consecutive shots. For example, the smudges at Peter's left ear or just under his neck change while in the Darling nursery.

Other: When John and Michael are explaining Hook to Aunt Millicent, Michael mouths some of John's lines.

Deliberate "mistake": The shot just after Smee jumps overboard, is a close-up of Peter's hand twirling his sword in mid-air and grasping the hilt with his left hand. It's not really his left hand though, this shot is flipped.

Deliberate "mistake": Jason Isaac's stunt double is easily seen in quite a few shots, for example when Hook duels with Peter on the Jolly Roger. His hairline is lower and the shape of his beard is different.

Continuity: In the bathtub Michael says, "Not fair," to Nana and his hair is combed differently, parted and much neater, in the next close-up.

Continuity: Peter stands at the window and says, "Come away to Neverland." In the close-ups as his hands grasp the curtains, hardly any of the white curtain is seen under his grip. Yet in the wide shots there is much white curtain seen in his hands.

Continuity: In the scene after Wendy kisses Peter, Peter comes back down from the sky and cuts the ropes binding Hook. Hook is still tangled in the ropes when Peter tosses him a sword, but in the next shot, Hook flies away from the ropes as if he wasn't ever tangled in them. There wasn't enough time in between shots for him to cut the ropes himself.

Continuity: When Peter floats up after John says, "You offend reason sir," the clothes wardrobe is seen behind Peter and there are three very large floral hat boxes sitting on top. Yet when Michael flies and lands on top of that wardrobe the floral boxes are arranged completely differently.

Other: When the Lost Boys spot the large white bird they argue about who gets the telescope. In the wide shot one of the twins slips and falls on the ground and looks directly at the camera with a puzzled look on his face. In the next close-up Tootles and especially Nibs start smirking, Nibs has to look down and away as Slightly says his lines and the other twin starts to look at the camera when the shot changes.

Continuity: Peter and Hook are face to face as Hook taunts Peter saying, "I'm afraid the window's barred..." In the shots facing Hook, Peter holds the base of Hook's hook with his left hand while his right hand blocks Hook's hook with his sword. However in the shots facing Peter, while the boy blocks Hook's hook with his sword, Peter's left hand does not hold the base of Hook's hook.

Other: When asking Wendy to be their mother, one of the twins asks, "Do you tell stories?" and Curly visibly mouths the word, "Stories," along with the twin, then goes on to say his own line, "Then you're perfect."

Revealing: Just outside the hideout's tree entrance, the pirates carry Wendy, her brothers and the Lost Boys away. When Michael is thrown over a pirate's shoulders, Freddie Popplewell's (Michael) spandex shorts are perfectly visible.

Continuity: After the children return, the shadows cast within the room change drastically in the following shots. For example, when the wall behind John's and Michael's beds is visible the shadows cast by items, such as the clock and light fixture, are very different throughout this last scene.

Continuity: When the children arrive home, John does not have a mark on his forearm. As John shakes his father's hand there is a long black mark above his wrist. During the family hug while they kneel on the floor the mark is smudged. When John is on the floor with his father and the Lost Boys, Michael dumps the treasure onto the rug and in the next shot as John holds one of the twins the mark on his forearm is long and clear now. The mark changes position as well.

Continuity: When Wendy, Michael and John return to the nursery, Michael kneels down in front of Nana. In the next wide shot, the bear, etc., on Michael's back differs, as well as Nana's position on the floor.

Continuity: Hook sneaks into Peter's hideout while Peter sleeps in order to kill him. In the first close-up Hook tries to reach Peter, who's lying down, as Peter mumbles in his sleep. In Peter's second close-up he is in a completely different position as the poison drops into the water. As he wakes with a start in his third close-up, Peter is lying in the same position as the first close-up.

Continuity: As Peter saves Wendy and scares away the mermaids his body position is very different in the wide shot between the two close-ups.

Continuity: In Hook's stateroom, he speaks with Wendy, dries her tears and moves some of her hair behind her shoulder. Her hair changes position in the following shots. Throughout the film Wendy's long hair changes position in many consecutive shots.

Continuity: Smee opens the door to Hook's stateroom, calls out, "Cap'n?" and from the exterior we see the large globe to the left. When Smee walks in, the globe is seen again from the other side, but the globe shows the exact same region and markings as when it was seen from the doorway.

Continuity: We see the outside of the Darling's house as Wendy speaks of Alf Mason's ugliness, when she looks out from her window after Nana barks, when she searches the patio with a candle, when Nana is chained outside and when Peter, at a distance, sees the Darlings leave their home for the evening, etc. Among the changes, seen in certain shots, is the house adjacent to the Darling's home and the Darling's patio's appearance and surroundings.

Continuity: The distance between Nana's doghouse and Wendy's nightstand changes. For example, when Tinker Bell flies into the nursery she flies into Nana's house and we see the distance between the two. When Wendy climbs out of bed and curtsies to Peter the two are nearer to one another, and when she says her full name the two are even closer, but when Tink pulls Wendy's hair the house and nightstand are further apart again.

Continuity: When Wendy says, "But, there's no such thing," Peter flies to her and covers her mouth with his hand. When he says, "Don't say that." In this side shot his fingernails are relatively clean. In the next shot facing Wendy, Peter's hand is still on Wendy's mouth and his fingernails are filthy. Then back to the side shot and his fingernails are clean again.

Continuity: On the Jolly Roger, after Hook tells the others, "He's mine," and Peter shouts, "Now," we see Wendy bursting through a closed door and surprising the pirates. In the next shot we see Wendy bursting through the closed door again from another angle and her hair is different in both shots.

Deliberate "mistake": Hook tells Peter, "She'd rather grow up than stay with you," and we see that this next wide shot is flipped, note the hook on the left hand. Also, as Hook smacks Peter across his face and sends Peter hurling into the rigging with a bleeding forehead, dramatic as that is Hook doesn't even make contact with Peter in the shot.

Continuity: Tink unlocks the nursery window, flies about and darts under John's bed. In the view from above John's bed, we see a large play castle at the brass footboard of his bed. However, in the next shot looking out from under his bed as Tink opens the wardrobe, we see through the bars of the footboard that the play castle is GONE. Then in the next shot of the bed the castle is back.

Continuity: When Aunt Millicent is speaking with Mr. and Mrs. Darling about Wendy, she is holding a wine glass with engraved etchings. The position of the markings vary when the camera faces her and when the camera faces the Darlings.

Continuity: In the battle scene on the ship, Hook throws Peter's sword into the air and Peter catches it with his left hand, but in the next shot a second later it is in his right.

Continuity: When John tries to fly for the first time, he jumps off the bed and we see him soar across the room, but the room is nowhere near long enough for him to have gone as far as he did before he crashed.

Continuity: In the scene where Peter ducks down next to the Lost Boys, we see Hook look at the boys and Peter is in the far right, but as Hook comes closer, Peter is now in the middle (it would have been impossible for him to slide into the middle because Hook would have noticed it).

Revealing: Peter says, "There are mermaids! Indians! Pirates!" and then John shouts, "Woo hoo!" When he flies out through the nursery window his gown is visibly gathered at his back for the stunt.

Continuity: After Wendy sews the shadow onto Peter the light in the nursery brightens. The items in the room cast their own shadows, for example, the clock and light fixture over Michael's beds. These shadows change drastically in the following shots, until they fly off to Neverland.

Continuity: When the mermaids swim toward Peter and Wendy, in the wide shot as three of them begin to surface, floral plants float between two of the mermaids. However in the close-up as the mermaids surface, they are next to one another with no plants between them.

Continuity: When John realizes that he has forgotten his parents and that they must leave, Peter shouts, "If you wish it!" The positions of some of the kids differ in the front shots and back shot.

Revealing: After having been kissed by Wendy, Peter flies towards Hook, who is tangled up in the rigging of the Jolly Roger and slashes the lines of the rigging thereby releasing Hook. As Peter swipes at the lines it is very apparent that he only touches a few of the pre-cut lines and the rest simply fall away.

Continuity: At the bank, in the close-up of her legs Nana knocks Wendy off her feet and she lands parallel to Nana. In the next close-up of her face Wendy falls back again. Then in the next close-up Wendy falls perpendicularly to Nana.

Continuity: When Peter & Wendy go to see the mermaids, one of the mermaids places her hand on top of Wendy's, and starts to put her head underwater. In the next shot (filmed from behind the mermaid), before Peter hisses at it, she is upright in the water, not dipping her head under anymore.

Continuity: In the interior wide shot of the nursery, just before Peter says, "Forget them, Wendy. Forget them all..." Wendy stands in the window with Peter flying behind her and the tri-fold screen is visible on the right with clothing on it. When Mr. and Mrs. Darling run into the nursery, the clothing hanging on the repositioned screen are completely different.

Continuity: As Peter and everyone sing, "I do believe in fairies. I do! I do!" he lifts Tink off the ground in the palms of his hands. In the close-up of Tink, Peter's hands are muddy and dirty, yet, in the next shot of Peter they are perfectly clean and so forth.

Continuity: Wendy places a flower full of medicine near the wooden crocodile for Peter to take. After Hook sneaks in he spots the flower and then places the poison inside it. Then when Peter wakes up and calls out, "Wendy," he sees the flower. In all three shots the wood chisel, wood chips, flower, etc. are different.

Deliberate "mistake": At the bank, as Nana, Wendy and the letter carrier all skid towards Mr. Darling and the other bankers, in the overhead shot it is not Jason Isaacs (Mr. Darling) standing at the front of the bankers. The hairline is completely different, as he has a prominent receding hairline on both sides of his head which is seen in many shots.

Continuity: At the bank Nana skids and picks up the two passengers and they all advance towards the bankers. As the boy runs and then as all three approach the bankers, the bankers behind Mr. Darling are positioned differently depending on the camera's angle in each of the far shots, close-ups and overhead shot.

Continuity: When Wendy is at school she puts down her needlework and flips the page in her notebook to the page with the drawing of Peter and as she flips the page the drawing is seen. In the next close-up, the drawing seen here is different from the one seen in the previous shot. Two examples of the difference are Peter is much closer to Wendy and he has no wings in the wide shot.

Continuity: Near the beginning of the film we see a tree outside the window, but when Tinkerbell flies in towards Peter (who's at the window) there is no tree.

Continuity: Throughout the whole scene in the nursery when Wendy and Peter are talking, Peter's hair is constantly changing. ie: position of bangs on forehead.

Continuity: At the Black Castle, Hook reappears and calls out, "Mr. Smee?" In this shot there is an oar handle at the bow of the boat. In the next shot facing Hook, the oar is gone.

Revealing: When John thrusts his sword at Wendy and she ducks, the sword lands between the books causing them to topple forward, off the shelf. The books actually start to fall before the blade even touches them.

Continuity: When the Lost Boys see that they have shot down Wendy, they turn around and say "Tootles has killed her" and they are spread out, but when Peter comes in a second later, they are grouped together.

Other: In the scene where Wendy admits to being Red-Handed Jill, Tootles says "Mother and Father are fighting again" and Curly is mouthing his lines.

Revealing: When Peter says "Just think happy thoughts, and they lift you into the air" he does a sort of twirl, at the beginning stage of his twirl you see the border at the top of the wall which makes the room seem way too small for him to do what he did.

Revealing: After Peter watches the Darlings and the Lost Boys through the nursery window, he begins to fly off. The camera pans onto the rug to show Peter's exiting shadow on the long bright spot of light coming through the window, which Wendy notices. This lit area on the rug is much larger and brighter than in the previous or following shots.

Revealing: Michael and Smee are on the gang plank of the Jolly Roger, in the shot looking up as Smee jumps, Michael's arm partially disappears in front of the sail in the background.

Continuity: At the Black Castle, John, Michael and Tiger Lily are in the water, yet when they try to open the gate their clothing, especially John and Michael's gowns, are very obviously not as wet or as clingy as they should be.

Continuity: When Peter flies through the nursery and stops at the drawer with his trapped shadow, the door to the nursery remains wide open behind him. Yet, when Aunt Millicent checks on the children she, both visually and audibly, opens the bedroom door.

Continuity: After the children's arrival from Neverland, they are in bed as Mrs. Darling, unaware of their return, stands and walks out of the nursery. In this shot there is a set of eleven identical books and another red book on the top shelf of the bookcase. However, when Mr. Darling hugs John now there are actually fourteen in the set of identical books along with the red book on the top shelf.

Revealing: Peter's height changes drastically during the course of the film and is most noticeable during scenes with Wendy. For example, when Peter says, "Leave Hook to me," at the Black Castle they are face to face and Peter is just a bit taller than Wendy. Then, just a few hours later, after Peter and Wendy dance they talk about feelings and Peter is now considerably taller than Wendy. Jeremy Sumpter had quite a growth spurt during production.

Continuity: Peter flies in and tells everyone of the new pirate Red Handed Jill and as he says, "She's just a storyteller," the small piece of watermelon, that looks as if it's been hacked already, is visible on the table. Then when he says, "I shall run her through!" he slams his blade into a large wedge of watermelon - its shape is very different (before the blade hits it of course). Other food on the table differs in consecutive shots within this scene as well.

Continuity: When John and Wendy duel in the nursery, Wendy ducks beside the table and John plunges his sword into the bookcase as he lands face down on the table knocking things off. In the next close-up of Nana, the table is visible behind her with no sign of John or Wendy and toy soldiers sit upright at the edge of the table.

Visible crew/equipment: Upon seeing the children when they've returned home, Mr. Darling hugs John and Michael. As John turns his head to look at Wendy clearly reflected in both lenses of his eyeglasses are four-square studio lighting. This occurs numerous times, with different types of lighting equipment visible in both John's and Mr. Darling's eyeglasses, as well as other's eyes throughout the film.

Continuity: Before Peter takes the Darling children to Neverland, just after he says, "We'll ride the winds back and away we'll go," Wendy backs up between the two beds of her brothers asking if they can come too. Michael (the younger one on the right) is seen lying on his back in the middle of the bed with his arm over his chest, but in the next close up of him, he is lying on his side hanging over the edge of the bed.

Continuity: In the nursery, as Tink pushes the books off the top shelf, in the close-up the wooden fan is seen leaning against the books on the middle shelf. Then as Peter flies towards the hallway following Tinker Bell he passes the bookcase and the fan is gone. Yet when Peter tells Wendy about meeting Tink at Kensington Gardens the fan is back. Books on the middle and bottom shelf change in these and other shots too.

Continuity: When Tink flies into the nursery she zooms to the bookcase, knocks down the books, one by one, from the top shelf and the last thing to fall is the statue bookend. In the next close-up the Indian bookend lands last, but it's not the same one that fell in the previous shot.

Continuity: The toy house is placed up against the wall near the children's bedroom door on the wood floor, with its front door facing out towards the boys' beds. However, when John flies and promptly falls, the house is not only placed away from the wall and on the rug, it is also facing the opposite way, with its front door facing the children's bedroom wall.

Revealing: When Peter is trapped in the net underwater at the Black Castle, it's plainly visible that where he cuts on the rope is pre-cut already.

Continuity: Mrs. Darling plays the piano and when the children start dancing around Aunt Millicent we see the small red velvet pillow on the table to her left. In the next wide shot as they dance, Mr. Darling settles them down and the pillow is not on the table, yet in Aunt Millicent's close-up the pillow is there as before.

Audio problem: Wendy is tied to the mast on the Jolly Roger when Hook forces her to tell a story. In the wide shot, the pirates start to find seats and Hook has his hand at Wendy's throat as we hear her begin, "There was a boy named Peter Pan," yet her mouth does not move. She continues to say off camera, "who decided not to grow up," and in the next shot Hook gets angry and tells her to skip the prologue.

Revealing: After the lost boys put Wendy into the doorway of the treehouse for the first time, right after the one closing the door says, "So looking forward to being your son!": the lost boy right behind him turns, and pulls back his bowstring as if aiming, but has neglected to knock an arrow on the string. Then, as if that wasn't bad enough, he turns toward the camera and makes a funny face.

Continuity: When Hook makes Wendy tell the story of Peter Pan and subsequently shoots Noodler, the first of the two pirates to go down at storytime, the camera cuts to the next shot and Hook's pistol is out of his hand, which is not only visible, but being held up in the air, as opposed to under his right arm where he shot from.

Deliberate "mistake": After Aunt Millicent checks on the sleeping children, in the shot outside the bedroom, she is startled by her true shadow on the lit area of wall. The position, shape and angle of that area of light, in which the shadow is visible on the wall, is a deliberate exaggeration, not withstanding the fact that Peter, just moments earlier, approached the drawer with his shadow in this same area and yet there was no patch of light.

Continuity: The scene after Hook gets swallowed by the crocodile Peter puts on the hat that Hook tossed into the water earlier. But in the close up shots of Peter, the hat with its feathers look perfectly dry, contradicting the very loud splash it made when it hit the water.

Continuity: Tiger Lily's painted blue hand on her face changes its shape throughout the shots in the forest and Black Castle. For example, when she is in the boat entering the gate as she stares wide eyed at the skeletons, the blue thumb is thicker and parallel to her face, whereas in the forest the blue thumb is thin, long and points towards to the side of her face.

Continuity: Peter kicks the jack-in-the-box and it falls over, but when Wendy starts to say, "But there's no such thing as," Peter flies toward her and the jack-in-the-box is upright now.

Continuity: At the Black Castle, Princess Tiger Lily's make-up completely rubs off when she is in the water but when she kisses John, she has a dark area around her eyes.

Continuity: John jumps out of bed, stands next to Wendy between the beds and says, "I should like to offend it with you." In the next shot, when Peter says, "Just think happy thoughts," John is much further away from Wendy and is positioned directly in front of Peter who stands on John's brass footboard.

Continuity: In the beginning when John and Michael are explaining Hook to Aunt Millicent, Michael's hair is at first neatly parted, but then it becomes messy and then back to neatly parted.

Continuity: When Wendy and John duel, the window in the nursery is closed. In the close up of Peter as he peeks in through the window, it is open, causing the white curtain to blow in the wind. However, in the following shots the window is closed until Wendy and John open it.

Continuity: There is a shot of Nana sleeping in her house before we see Peter flying over Wendy, who is also asleep. Then there is another shot of Nana coming out of her house barking. The toys' positions near Nana's house differ in both shots and Nana did not move them.