Charles Austin Miller

Continuity mistake: At the end of the song "Just An Ordinary Man," Rex Harrison races around the room switching on several separate phonograph players (which are all mechanical devices), producing a dissonant, squabbling ruckus. But, a moment later, as he utters the last line of the song, "I shall never let a woman in my life," he switches off the one phonograph nearest to him, and ALL the mechanical phonographs in the room stop playing instantly. (00:44:36)

Charles Austin Miller

Continuity mistake: Throughout the movie, fire axes seem to be the weapons of choice. Only two fire axes are used, but they appear recurrently. In the very first use, the protagonists grab fire axes to butcher the monster called Beverly. Blood and gore go everywhere; yet, the axes emerge from this bloodbath with no blood or gore on the handles - they're virtually pristine moments later. The axes are used again and again, right up to the ending, and blood comes and goes from the axe handles seemingly at random.

Charles Austin Miller

The Red Circle - S1-E4

Continuity mistake: A whimpering housemaid rushes down the stairway, frightened by an intruder on the second floor. Doctor Watson gallantly charges upstairs to investigate, plunging his left hand into the right side of his jacket to retrieve his trusty Webley revolver as he advances on the camera. However, the shot immediately cuts to Watson withdrawing the revolver with his right hand from the left side of his jacket. (00:29:55)

Charles Austin Miller

Continuity mistake: Mayor Shinn thanks the crowd for attending the Fourth of July exercises indoors at the gymnasium due to "the weather being so chancy" (meaning a good probability of rain). Mayor Shinn adds that the July 4th fireworks display will be held that evening unless the rain prohibits it. However, the year is 1912, and no advanced weather-tracking technology exists; so, they have no way of predicting the weather except by direct observation. Therefore, the mayor must be basing his cautionary weather statements on direct observation of overcast and stormy conditions. But, when Professor Harold Hill works the crowd into an excited frenzy that bursts out of the gymnasium and into the streets, it is revealed that the sky is perfectly clear and blue, with the sun shining brightly. There is no indication of inclement weather whatsoever. In fact, it remains clear and never rains in River City throughout the course of the entire movie.

Charles Austin Miller

Continuity mistake: During the final of the arm-wrestling championship, Lincoln Hawk's nose is bleeding. Then it's not. Then it is. It goes back and forth.

Charles Austin Miller

Continuity mistake: Near the end, when Tom Powers is waiting in the rain to murder Schemer Burns, we see Tom wearing a tall, straight-crowned fedora that is only slightly tilted to his right. Suddenly, and for no apparent reason, we see a close-up of Tom wearing a completely different, taper-crowned fedora that is tilted deeply to his left. This close-up lasts for 7 seconds, then the shot returns to Tom wearing his original tall, straight fedora.

Charles Austin Miller

Continuity mistake: In the first minute of the film before the title appears, we see the Medici Brothers Circus train leave Sarasota, Florida and head north into Georgia, touring the southern United States before arriving in Joplin, Missouri (where the first half of the film takes place). Upon arrival, the train's engine itself comes to a full stop directly in front of the Joplin depot. This shot immediately cuts to a frontal shot of the train engine coming to a full stop in open countryside with no sign of the depot or civilization anywhere, except for a fleeting glimpse of a rooftop about a hundred yards in the background.

Charles Austin Miller

Continuity mistake: At the beginning of the film, protesters chase Harold through downtown traffic until he dives into his friend Todd's vehicle; whereupon the protesters urinate on Todd's windshield and splatter fecal matter across his driver's side window. For several scenes thereafter, the fecal splatter repeatedly changes shape, orientation and quantity on the side window, actually gaining mass in some shots.

Charles Austin Miller

Continuity mistake: When Captain Shakespeare is in drag, doing his fan dance before a full-length mirror in the foreground, Prince Septimus appears in the background in partial profile and slowly turns to his right to fully face the camera. The shot immediately cuts to a closeup of Septimus to get his stunned facial reaction, and he is again turning slowly to his right to fully face the camera.

Charles Austin Miller

Continuity mistake: The Stalker, "Shrike," is a persistent hunter, but not terribly quick on his feet. He's sort of a lurching, Frankenstein-like cyborg who is always pursuing Hester Shaw at about walking speed. When Valentine frees Shrike from Sharkmoor prison, miles out to sea, we see Valentine in his airship destroying the prison and we see Shrike's prison cell sink to the sea floor. This cuts to a long distance shot of the prison exploding and sinking in the far background, miles away, as Valentine's airship comes sweeping from the far background into the foreground and out of frame. Almost immediately, Shrike emerges from the surf in the foreground and slowly trudges ashore, implying that he somehow travelled miles across the sea floor just as swiftly as did the airship, in a matter of moments, despite his slow, lumbering gait. (00:47:40)

Charles Austin Miller

Continuity mistake: From the very start, this movie's psychedelic visual effects (representing a test pattern grid) are rotating counter-clockwise in the background throughout the title sequence. This transitions to the opening scene in the lab, where the researchers are still trying to calibrate the test pattern grid. Christopher Walken, who is actually viewing the effects, complains that the grid is scrambled, out-of-phase and rotating. Louise Fletcher makes some technical adjustments and says, "What do you see, angel?" Walken answers, "Clockwise rotation." The shot instantly cuts to the visual-effects view again, to show us what Walken is seeing, and all of the grid effects are still rotating counter-clockwise. (00:00:50 - 00:03:00)

Charles Austin Miller

Continuity mistake: Near the end, during the final combat scene between Aquaman and King Orm, the gigantic whirling propeller blades in the background noticeably change rotation rate: At the start of the battle, the blades are turning rather lazily; but at the height of the battle, the blades are spinning rapidly, a virtual blur in close-up shots, drawing a steady stream of sparks from Orm's helmet when it touches the propeller. When Aquaman defeats Orm moments later (and their mother, Queen Atlanna, appears), the huge blades are spinning slowly again. I'm not talking about during dramatic slo-mo action effects, but during the normal-speed action. (02:04:50 - 02:07:10)

Charles Austin Miller

Continuity mistake: By the end of the film, we realise that the Djinn (in this case an invisible and shape-shifting earthly entity of Islamic lore) has staged most of the film's events as a mass illusion. Meaning, the Djinn is a deceiver and can lead humans into dangerous and even deadly situations, but the Djinn cannot perform physical miracles (or else the whole movie would end almost as soon as it started). At the story's climax, the lead characters, Khalid and Salama, end up in the 62nd-floor penthouse of a luxury high-rise, where Khalid drops Salama to her death from the penthouse balcony, just as the vengeful Djinn intended. However, only minutes earlier, we see that the high-rise building is actually still under construction, and it's stated that the building is months away from completion (its main entrance and plate glass have not even been installed). The Djinn only created the illusion that the building was completed to deceive the lead characters. In reality, without electricity and functioning elevators and hundreds of feet of completed stairwells, there was no physical way for Khalid and Salama to reach the 62nd-floor penthouse suite of the high-rise for the climax scene, even if they were being deceived by illusion.

Charles Austin Miller

Show generally

Continuity mistake: Over the course of many Dark Shadows episodes set in the year 1795, Countess Natalie Dupres' dark, distinct, three-dimensional facial mole changes sides from left jaw to right jaw, briefly vanishes altogether, then returns as a faint, painted beauty mark on her right jaw.

Charles Austin Miller

Continuity mistake: When Deadpool and Cable confront Russell (Firefist) near the end, Cable glances to his right and says: "There's one bullet left in that gun!" We see a closeup of the semi-automatic several feet away, and the handgun is elevated above ground level, resting on a slab of concrete with a bit of flame burning just inches away. Moments later, as Deadpool pleads with Russell, Cable again glances at the gun, which is now lying in the dirt, below the level of the nearest concrete slab.

Charles Austin Miller

Continuity mistake: Frederick Frankenstein only throws two darts through the window. But there are 9 darts in the car tires outside.

Charles Austin Miller

Continuity mistake: Early in the film, Lockhart tells his driver to take him to a hotel, and they start down a winding Alpine mountain road before suddenly slamming into a deer. The Mercedes sedan goes off the road, airborne, into the forest, rolling many times before crashing down hard on its side. But, when the camera cuts back to the mortally-injured deer in the road, we see the Mercedes is wrecked on the road shoulder only about 30 feet away from the animal.

Charles Austin Miller

Continuity mistake: When Sir James and Mata Bond infiltrate Dr. Noah's headquarters, they hurry down a corridor with dozens of doorways. There are no flashing lights, but the corridor color repeatedly changes from blue with blue doors to red with red doors from one camera shot to the next.

Charles Austin Miller

Continuity mistake: When the girls wake up on the beach, they see Nancy out in the surf, walking on water. As she casually strolls back to the shoreline, a wide shot shows the water is calm and flat and blue from the beach to as far as the eye can see. However, as the camera cuts to Nancy reaching the beach, the surf behind her is suddenly rough and crashing and murky brown, with 3-foot waves breaking on the shoreline.

Charles Austin Miller

Continuity mistake: When the MR-1 first lands on Mars, the sky visible through the portholes is fiery red, which is the uniform color of all exterior shots in the film. However, a whole series of interior shots throughout the film show that the sky visible through the portholes is suddenly and inexplicably baby blue. At two points, when Iris sees a Martian through the porthole, the sky momentarily turns pitch black.

Charles Austin Miller