Superman IV: The Quest for Peace
Superman IV: The Quest for Peace mistake picture

Revealing mistake: When Nuclear Man's fingers hurt Superman's nape, part of the Statue of Liberty's tablet disappears.

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Continuity mistake: When Lex shows up at the base, walking by a door, the 5 soldiers guarding it a frame before disappear.

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Superman IV: The Quest for Peace mistake picture

Revealing mistake: After Superman leaves the Statue of Liberty, a thick string is noticeable under his cape to keep it up and fluttering.

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Continuity mistake: When Luthor is about to enter the military bunker, there's a truck right next to the entrance with a young soldier standing next to it. When the angle changes, the truck is far away and the soldier is a different guy.

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Continuity mistake: When Lex walks by the military bunker the blinds are opened. When he is inside, they're closed.

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Superman IV: The Quest for Peace mistake picture

Revealing mistake: When the missile is launched, Superman flies to catch it. However, his face has some sort of stocking over the upper part and the man looks nothing like Christopher Reeve. It was either a stunt double, a bad special effect, or a cheap mannequin.

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Continuity mistake: When Superman walks to the UN light casts a 1 o'clock shadow on the pavement, yet it disappears a frame later from a different shot.

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Continuity mistake: The driver of the SWAT van disappears when the van is standing upright.

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Revealing mistake: When Nuclear Man lands in Metropolis before destroying everything, watch the truck and cab on the left and you'll realise that they are a painting. Not a realistic painting, but a cheap, unfinished one.

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Superman IV: The Quest for Peace mistake picture

Visible crew/equipment: When the cosmonaut is fixing some cables, a crew member's hands holding the camera are reflected on his visor.

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Revealing mistake: After Nuclear Man bursts the cab's hood, watch behind and you'll see the wiggling cable that pulls the prop car.

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Revealing mistake: The first time we see Clark, he is crossing the crowded street towards the subway entrance. Note that none of the cars are moving except for a cab in the front. If you watch behind Clark you'll see that the street ends in a flat wall, revealing it's a backlot set.

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Revealing mistake: When the movie ends and Superman grabs Lenny and Lex's car, they both become black and white coloured and semi transparent.

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Revealing mistake: Underneath Lenny's car when it flies away in the quarry there's no pipes, no nothing, just a black plank, revealing the car's a cheap prop.

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Continuity mistake: When the firemen are grabbing the hose, the black car on the left turns around 180ยบ and changes model between shots. Also, the yellow cab on the right changes positions and model, notice its headlights changing styles between shots.

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Visible crew/equipment: When Superman saves the cosmonaut, stage lights are reflected on his visor.

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Revealing mistake: When Nuclear Man flies through the ceiling for the first time, the first glass he crashes into is noticeably different than the others surrounding it, revealing it's a prop.

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Continuity mistake: When Nuclear Man sees the newspaper, it smooths itself between shots.

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Other mistake: When Superman flies next to the subway carriage and Lois spots him and smiles, he is flying in the opposite direction.

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Continuity mistake: When Clark hears Lois' cries for help he is by the edge of the subway platform. A frame later he is a meter away.

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Quotes

Lex Luthor: Lenny, I've always considered you the Dutch Elm disease in my family tree.

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Trivia

Near the end of the film, Superman gives a press conference in front of a bluish mirror-glass building which is meant to be the Daily Planet skyscraper in Metropolis (which we all know is New York, sort of). The shot is framed so you can only see the bottom of the building - necessary as it is only about 3 floors high, and is in fact the railway station in Milton keynes, England, about 400 yards from where I work. Even the crowd have a vaguely British look about them - presumably passers-by were recruited and stood there in their own clothes (this would matter less now - Brits look more American than they did in the Eighties).

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