Raul Marques’s review published on Letterboxd:
What would it be of the whole silent era without the acceleration technique. Here, we see a Chaplin remarkably close to Keaton, engaging in these grandiloquent chases and becoming a proto-action-hero by the end. That's a lot of camera movement compared to usually static norm of that period, and it's funny to notice how cuts were already masked at the time using matching scenes.