Continuity: At the end when Meg steps out of the water, her pants are wet. However, when she enters the bedroom and finds the Phantom's mask, her pants are perfectly dry.

Deliberate "mistake": As Christine approaches the Phantom in his lair (just after he has abducted her), we see that she is wearing very dark black eye-shadow. Back in the dressing room after coming off stage, as she talks to Raoul, we saw her face in close up and she was not wearing any eye-shadow at all, even though the Phantom leads her through the mirror just after she has managed to slip on a robe over her undergarments and she has not yet changed to go out to supper (Raoul says she is to be ready in 2 minutes). Her hair becomes 'bigger' and wilder, too. The change in her appearance is a reference to her descending (voluntarily, I might add - he didn't drag her through that mirror) into the Phantom's dark existence and to her sexual awakening.

Continuity: When Buquet hangs over the scene, you can see Meg screaming along with three other dancers. Four shots later, Meg is still screaming, but the two girls who were to her right (on the left of the screen) are still dancing, as if they haven't seen Buquet yet.

Visible crew/equipment: In the scene where Christine and Raoul are riding the horse out of the graveyard, it is obvious that Emmy Rossum has been replaced by a stunt double.

Visible crew/equipment: During The Music of the Night, you can see a camera shadow pass over the Phantom's and Christine's face. It's around the part where he says, 'Let your fantasies unwind'.

Revealing: As the grating descends on Raoul, in two shots, large bubbles are flowing downwards. It's obvious, the film was reversed.

Audio problem: Right after Joseph Buquet is killed, Raoul runs and finds Christine. When she says, "Raoul, we're not safe here.", her lips do not move; her mouth is merely agape.

Factual error: Raoul is the Vicomte de Chagny and he gets called that throughout the movie, even during the auction (which shows he didn't change titles when his parents or his brother died, for example). Yet Christine's tombstone calls her a countess when it should have read viscountess–or, even better, vicomtesse.

Revealing: During the second kiss, you can see behind Gerard Butler's neck (going from under his hair down to his back) the wire of the apparatus used to keep his lower right eyelid pulled down.

Continuity: In the last scene, Christine pulls the cover off one mirror. The coverings stay like this till the Phantom leaves, when both mirrors are uncovered.

Continuity: After being abducted during the Don Juan performance, Christine changes into the wedding gown and the Phantom places the veil on her head. The veil gets thrown aside by the time Raoul arrives. Between the time Christine leaves and the mob arrives, there is a shot of the mannequin with the veil perfectly positioned on the head (although it is highly unlikely that someone took time to put it back.) When Meg walks through the lair and retrieves the mask, yet another shot of the dummy shows that the veil has disappeared.

Continuity: As Christine and Raoul race up the stairs of the Opera House, her hair is loose. By the time they come out onto the rooftop, it's partially pulled back in an elaborate fashion. She's never off screen long enough to have done that.

Factual error: The Phantom breaks all the mirrors at the very end and the way the glass shatters shows that it is coated glass, which wasn't invented until 44 years after the movie was set. The movie was set in 1870 and coated glass was invented in 1914.