Other: When they are tracking Godzilla to the second pile of fish in Central Park, the tracking device says that Godzilla is moving with a speed of 175 mph. If you look at the shots before it with the soldier looking over the top of the building, it is impossible for him to walk at that speed.

Continuity: When Viktor and Audrey fall from the ventilation ducts, Viktor's camera goes skidding across the floor about 6 feet or so away, yet when Jean Reno comes over to step on the camera it is within a foot of where Viktor fell.

Revealing: When the two soldiers are in the subway tunnel just before Godzilla's eye opens at the end of the tunnel, check out the beams on the flashlights. When the flashlights shine on the walls of the tunnel, they are normal. When they shine FURTHER AWAY onto Godzilla, the light beams get narrower and more laser-like. The circle the light makes on a surface loses the dark circle in the centre when it shines on Godzilla too.

Factual error: The ship shown in the film is a dry-bulk carrier, not a fishing vessel.

Revealing: In the scene where they have the second fish trap, Godzilla runs from the army and the chasing hummers go right over footprints smoothly.

Factual error: The Apache gunship helicopters seen in the film have three weapons pylons under each wing. In real life, Apaches have only two pylons under each wing. It's possible the makers of the film gave them the extra pylons to make them look "cooler".

Continuity: The first footprint - the one Nick is standing in - is clearly smaller that those shown from the helicopter (watch the toes).

Factual error: The giant footprints in the movie are obviously dug out of the ground. If they were real, the ground would be heavy compressed in a footfrint shape. These look like they were dug with a foot-shaped shovel.

Deliberate "mistake": The pile of fish in the first fish trap is much taller than the trucks. That's impossible without some sort of lifting equipment - and no such thing is around in the aerial shots.

Continuity: Watch the roads during the chase scenes. They go from soaking wet to dry to wet again scene to scene, in the same street as they turn around.

Continuity: When the reporter is chasing Godzilla in New York, just before he stops his hat falls on the ground between him and a taxi. But in the next shot of him when Godzilla is about to crush him, the hat is gone and is never seen again.