Fracture

Continuity mistake: In Willy's flashback when he speaks to Crawford for the denouement, his SPH-a900 flip phone and Flores' swap position compared to how the actual scene went. Just look at the position of the three buttons; the buttons of Beachum's faced him originally, they face Flores when he grabs it by mistake in the flashback. (01:37:55 - 01:41:55)

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Continuity mistake: When Willy rings Crawford's doorbell, notice a white control panel below the CCTV screen. Hopkins then answers the door in a different shot, with the panel missing. The panel was always there during his earlier scene with Nunally, and it is still there for the rest of the scene, missing again only in a later zoom-in on the monitor as Crawford checks on the prosecutor. Probably those were later reshoots. (01:39:25)

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Continuity mistake: In the end of the film where Willy and Ted stand together in Ted's house, Ted says to Willy "See, you can't touch me, ever". The shot goes to Willy and you can see his finger off the trigger, yet in the close-up on the trigger you can see that Willy's finger is inside the trigger-guard and he pulls it out. (01:46:15)

Continuity mistake: When Crawford sees Willy out after telling him to get the eff out, Hopkins turns towards the door, fully lit. He then peeks out of the door, now showing a more dramatic shadow on it. (01:47:50)

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Continuity mistake: In the glimpse of the last trial, the bailiff says, "All rise," as Judge Pincus walks in, and people behind the prosecution bench take the instruction all too zealously as they do it twice - in different ways. Check out the guy with a jacket on his arm next to the woman in red - in separate shots. (01:48:20)

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Plot hole: In this film, a murderer (Mr. Crowford) goes free after recanting his confession (alleging duress) and concealing the murder weapon. The film forgets the most damning evidence: The perp and the victim had been alone in a closed room from which witnesses had heard shots fired. The perp himself establishes that he had motives. He cannot go free without an astounding alibi.

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Lt. Robert Nunally: I warned you about him.
Willy Beachum: You warned me he was smart. You didn't warn me you were stupid.

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Trivia: The prop department had some fun during the making of the movie; you can see a lot of names of miscellaneous crew slipped in a few spots. There are boxes with case files scattered around the district attorney's offices; the ones behind Willy in his own office (People vs. Bonaventura - Tony Bonaventura being the property master, People vs. Morgenthau - Kramer Morgenthau being the director of photography) get quite a bit of screen time, but there are several others all over the office space, all carrying the name of a crew member. For instance, in a brief sequence when a dejected Willy walks up to Mona's desk to ask for her help before the third act, you can see unique ones. There's also a listing board with judges during the arraignment, and one with doctors when Willy is stopped by the hospital security; both of them are filled with names of production crew members. (01:16:50 - 01:33:20)

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Question: How does the motel scene pan out? Crawford enters without taking any precautions (except the hat that manages to fool the one security camera) and only by plot armor cloak is by neither victim, who are frolicking in the pool a few feet from him and could and should see the old stocky dude hobbling around their bungalow fully in the open. Then he enters through a keycard that is never explained. Poolside we then see at one point the lieutenant looking towards the bungalow, frowning; what's with the frown? There is nothing suspicious about what is shown there, and Hopkins is not doing - at that part of the scene, the way it is edited - anything that would draw attention. Also, the phone call at the beginning doesn't make sense for anything but providing background for the audience, considering he already knew where Nunally was.

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