The Exorcist (1973) - 130 mistakes

Continuity: Father Merrin walks over to see what the other archaeologist has found at the dig site and the items in the sifter move between shots in the close-up.

Continuity: At the dig site in the beginning of the movie, the items on the rock behind Father Merrin move in the close-up after the other archaeologist shows him what he has found.

Continuity: Father Merrin watches three metal smiths working and the piece of metal on the anvil is red hot in one shot and not in the next.

Revealing: As Father Merrin speaks to another archaeologist in the beginning of the movie the clock on the wall stops between ticks and he turns around to look at it. It's easy to see that the clock pendulum has been pushed up against the window from behind in order to make it stop.

Continuity: The phone on the right of the archaeologist's desk moves between shots in the close-up. The first time we see it the connector chord is flush with the desk but the second time we see it the chord is above the desk and no one goes near it.

Continuity: In the archaeologists office at the beginning of the movie Father Merrin looks at the clock on the wall as it stops. The first time we see it the pendulum is to the left of center but the second time we see it, it's dead center and it hasn't been touched.

Continuity: When we first see her, Chris MacNeil lays in bed editing her script. The lamp above her head changes position between shots after she turns it on.

Continuity: Chris says to Carl, "We've got rats in the attic" and he replies, "Rats?". All the items on the table to her left have been rearranged between shots as she turns towards him.

Continuity: Chris picks up a newspaper as she tells Carl, "We've got rats in the attic". In the next shot the newspaper is unmoved.

Continuity: At the movie set, Chris says to Burke Dennings, "It just doesn't make sense" and the guy in the blue shirt in the background is standing up. In the next shot he's bending over.

Continuity: At the movie set, Chris yells, "Hold it, hold it" as Father Karras watches and walks away. In the next shot several extras along with the line of shade behind him disappear.

Continuity: After returning home from the movie set Chris walks in and says hello to Sharon. The bottle of Coke, the typewriter carriage and the page she is typing all move between shots by the time Chris gets to the desk.

Continuity: After returning home from the movie set, Chris' necklace is tucked under her collar. She doesn't go near it but two shots later it's over her collar.

Continuity: After returning home from the movie set, Chris gets a letter from the White House which she reads with both hands. Regan says, "Hi Mom" and in the next shot Chris has a drink in her hand.

Continuity: After Chris returns home from the movie set, items on the window sill, the flowers on Sharon's desk and the pencils in her pencil holder all move inbetween the two close-up shots of her as she sits at her desk.

Continuity: Chris and Regan walk back to Sharon's desk and the radio on the shelf to the right of the desk has moved between shots.

Continuity: As Father Karras goes to New York to see his mother a woman in yellow on the sidewalk with her two children disappear between shots as he crosses the street.

Continuity: Before Father Karras walks into his mother's apartment the lights are on. In the next shot as he walks in the lights are off and he turns them on.

Continuity: Father Karras eats dinner in his mother's apartment and the curtain on the far side of the table moves without being touched the second time we see it.

Continuity: Father Karras bandages his mother's leg and we see her right hand as she raises it and he says, "Mama, I could take you somewhere…". In the next shot she raises her hand to her head and she now has a band-aid on her wrist.