Continuity: During the sequence where Crockett goes out on his motorboat to think
things over, the sun keeps moving up and down as the camera cuts back and forth
between the flashbacks and Crockett on his boat.
Crew or equipment visible: During the first chase scene with the punks and the driver
of the yellow truck, you can see the crew visible in the back of the pickup truck
via reflection off of the "punks'" car.
Revealing mistakes: During the scene where Sonny and Brenda take the yacht out, you
can see the wake from the other boat the camera is on.
The outright Conceptualist assault on poetry just keeps getting worse.
. . . It appears that about a hundred years before Mr. Ellison's coming of age, there had died, in a
remote province, one Mr. Seabright Ellison. This gentleman had amassed a princely fortune,
and, having no immediate connections, conceived the whim of suffering his wealth to
accumulate for a century after his decease. Minutely and sagaciously directing the various
modes of investment, he bequeathed the aggregate amount to the nearest of blood, bearing the
name of Ellison, who should be alive at the end of the hundred years. Many attempts had been
made to set aside this singular bequest; their ex post facto character rendered them abortive; but
the attention of a jealous government was aroused, and a legislative act finally obtained,
forbidding all similar accumulations. This act, however, did not prevent young Ellison from
entering into possession, on his twenty-first birth-day, as the heir of his ancestor Seabright, of a
fortune of four hundred and fifty millions of dollars.
When it had become known that such was the enormous wealth inherited, there were, of
course, many speculations as to the mode of its disposal. . . .
Seventy Essays on Unwelcomeness
