The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Although this one-minute short from Griffith in his first year as a movie director is not very interesting to the modern eye -- the copy I viewed on Youtube was faded and may have been a cut-down -- it shows good composition thanks to Arthur Marvin's camera-work, and clearly shows that Griffith already knew how to cut for the purpose of telling a story.There isn't much of a story, though. It is your basic melodramatic race-to-rescue-a-girl piece as the girl, who seems to have been tied up by Chinese abductors, probably for the White Slavery trade, is rescued by the police. Nonetheless, there is a nice variety of scenery, including a bit at a trolley-car stop, and nice intercutting of he police racing to her rescue.Griffith would perfect and elaborate on the model for most of his career at Biograph. Here it is at the very beginning.

This one-reeler is regarded as a Griffith thriller (if there is such a thing). It engages with the Chinese White slave traffic (what?) from the perspective of a female detective, Marion Leonard, whose assignment is to expose and break the traffic ring. A bit complex for a short film!