Corrected entry: Steven lets Dr Lesh & Ryan in Carol Ann's room and the book comes close and the pages giggle at them. In slow motion with the book approaching them and laughing, at 1.5x slow motion you can hear Henry Kain's (the preacher) laughing, clear as day. You have to tweak with the slow motion.
Corrected entry: In the scene where Steven is talking to Robbie about thunderstorms and how far away they are; he goes from having his glasses on to having them off several times.
Corrected entry: After Diane pushes back all the kitchen chairs around the clean breakfast table she walks past Carol Anne who is sitting on the corner kitchen counter. As Diane reaches under a base cabinet for cleanser and a rag, on the countertop above is the reflection of the waffle iron. You can see movement in the direction of where the table is as well as the snapping movement of the leaves of the tree behind the countertop TV at the same time. This is before Diane stands and turns to find the chairs suddenly stacked on the clean table.
Corrected entry: Robbie and Carol Anne share a bedroom, just to the left, and on an angle, of Dana's room (which is located upstairs, to the left, then directly ahead). This is obvious on a few occasions in the film (e.g. when the father says goodnight to them near the beginning of the film, and when the mother checks on them before having a bath near the end). At the end of the film when the poltergeist returns, the mother runs to rescue Robbie and Carol Anne from their bedroom - and bursts through the door to the left, and directly in front of her. Isn't that Dana's room?
Corrected entry: In the scene where the chairs are stacked up on the table, while JoBeth Williams ducks under the counter to get something, you can see the reflection in the waffle iron of the crew moving around off-camera to manipulate the chairs. It can't be a reflection of the chairs moving because the chairs are light-colored and the shadows are dark.
Corrected entry: When Carol Anne says her famous, "They're here!" line in her parents' bedroom, what she really appears to be saying is, "They're ALL here."
Corrected entry: In the scene where the kitchen chairs get rearranged on the table, just when Diane bends down to grab a rag and a bottle, there's obvious movement reflected in the chrome waffle-iron, above her head.
Corrected entry: In the scene when Marty is watching the steak slither across the table, the steak is over one of the tile lines on the table (obviously there is a slit there and the steak is being moved by rods underneath.) After Marty shines the flashlight and the shot cuts back to the steak, you can see by the tile lines that it is in a different position.
Corrected entry: In the scene where Dr. Lesh is explaining what the "light" means to the Freeling boy she calls him Tommy at one point but the character's name is Robbie. It's not that the actress got confused and called the boy by his real first name which is Oliver, so who knows where she got the name Tommy from?
Corrected entry: Watch the scene in the kitchen when the poltergeist puts all the chairs onto the kitchen table. When Diana walks over to the cupboard you can see the reflection of the crew in the kettle moving the set into position.
Corrected entry: Watch when Carol Anne and her mother are in the tub with the red goop all over them. The father rubs a wash cloth over the face of Carol Anne to clean off the goop and the unconscious child tries hard but her eyes squint.
Corrected entry: Right in the middle of the movie when a psychic tells about how haunted the house is (the evil force has kidnapped their daughter, and she's in TV land, as they can only hear her through the TV) She tells them what they will do to get her daughter back from the poltergeist. And she specifically tells them that she can only hear her mothers voice. Then in another scene she says to the parents "who is she more threatened by" and the mother says the father. So the psychic tells the father to tell his daughter that if she doesn't say anything she will get a smack. So of course the father tells his daughter that, but isn't she only able to hear her mother's voice?
Corrected entry: "Mr. Rogers' Neighborhood" aired only during the week. It could not have been on at the same time as a Sunday-afternoon NFL game.
Corrected entry: At one point during the scenes where the mother is communicating with Carol Anne through the TV, the investigator asks her where Carol Anne was playing when she disappeared. The mother replies "In her bedroom closet." Carol Anne wasn't playing in her bedroom closet - she was in bed.
Corrected entry: One end of a rope is tossed into the children's bedroom. It appears through the ceiling downstairs. The man downstairs is told to take up the slack gently. As we get an overhead shot of the man holding on to the rope, we can see the other end of it, even though that end is supposed to be by the bedroom.Paul Pepiton
Corrected entry: Instead of Steve and the neighbor spending all that time fighting with the remote controls and nobody getting to watch their program, wouldn't it just be easier for them to get up and change the channel on the TV? I mean, I know people can be lazy with their remote controls, but come on...princesskelli
Corrected entry: At the movie's beginning, why would the family bury a dead bird in a freshly planted flower garden, only to dig the whole thing up the next morning to put in a swimming pool?
Corrected entry: The main premise of the haunting, we are told, is that the greedy developer of Cuesta Verde has built the subdivision over a 300 acre cemetery that has had the headstones moved but not the bodies. Herein lies the problem. When was the last time that someone built a home, let alone a whole subdivision, without digging more than 6 feet down to excavate for sewer lines, water lines, basements, etc? Wouldn't someone, somewhere, have come across Great-Aunt Bertha's remains?
Corrected entry: When the son drives away, with the dog in a cab. The dog jumps into the back seat, but in the next shot it sits firmly on the front seat.
Revealing mistake: When the chair moves across the kitchen floor, Craig T. Nelson goes to investigate it (after it has stopped moving). He goes up to the chair and flips it over. If you look closely, Craig almost hits the camera with the chair's legs. You can tell this has happened because the camera moves up very quickly and Craig looks straight at the camera crew with very big guilty eyes. This is more easily visible on the widescreen version of the film. (00:33:30)
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