Plot hole: When a bad guy fires a sawed-off, double-barrel shotgun at the silver coupe, the car's hood flies off. The hood is attached by two strong hinges at the rear corners as well as a double-latched release assembly at the front/center. Even if the two shells could be aimed independently (and they can't), no way could all three attaching points be disabled at the same time.

Factual error: Scheider is honking the car's horn during the chase, but a close-up shows him pushing on the top of the outer rim of the steering wheel, while the horn switch is actually part of the center pad.

Continuity: When the silver coupe turns onto the street where the children are playing, the street is in full sun. But as the kids react, they see the car approaching, now in shadow.

Continuity: As the blue sedan turns onto the street where the children are playing, the street is entirely in shade. But after the children begin reacting, the car approaches in full sunlight.

Revealing: During the car chase sequence, the same white 1965 Rambler American (with bent drivers/front fender) is seen repeatedly getting 'in the way'.

Audio problem: Despite the fact that Scheider's character is driving a Pontiac Ventura with an automatic transmission (note the floor pedals), the sound we hear is of a four-speed manual car being 'double-clutched' (reused sound from the Mustang GT in the film 'Bullitt').

Visible crew/equipment: Halfway through the big car chase, just after a black-and-white police car also joins in, you will see the cars navigating through an S-turn, heading toward the river. On the far sidewalk is a camera and crew filming the same sequence, and the shots from that camera, showing the same S-turn sequence as the cars approach, immediately follow.

Factual error: The Greyhound bus involved late in the chase is heading northbound on the Palisades Parkway in New Jersey, heading away from New York City (which the sign above the windshield indicates is its destination).

Revealing: After the blue sedan turns left, away from Central Park, a long sequence of small 'leaps' begins for both cars as they go thru intersections along one long street. Our view changes from inside the sedan, to outside it, inside the coupe, and outside it, back and forth repeatedly. It is painfully obvious this sequence was artificially extended by randomizing the various camera angles, all showing the same few seconds of time, over and over. The best evidence is the red 1973 Lemans that is passed again and again and again.