Keaton's concern with the nature of the movie medium always far outdistanced Chaplin's or any other competitor's in the silent comedy field, and the dream sequence in which the mousy movie projectionist projects himself onto the movie screen is about as far in that direction as he ever went. The movie has some laughs, too -- in the pool game with an explosive 8-ball and in the obligatory chase.

I found the special effects clever and the jokes quite witty.

It's brilliant, one of the funniest films I've seen full of simple but effortlessly entertaining gags, stunning death defying stunts and special effects that make Avatar look like a primary school nativity play in comparison. Also I never knew Keaton, as well as being the great stone-faced comedian and an insanely brave stuntman, was also great at pool trick shots! Is there anything he can't do?!

I think "stupendous" is the apposite word.

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Great fun to watch, but what stands out for me is the music. The band is just so tight, and fits in perfectly.

My favorite Buster Keaton movie. Marvelous piece of work by a truely gifted artist.

Maybe I need more patience for early cinema, but all I can really feel about this film is the early techniques and narrative styles are impressive. It's not all that interesting without all of its innovations though.

Where do I begin? You would think a 44 minute feature wouldn't have much to it. Buster Keaton stars in and directs this highly accessible silent film. Simple narrative that is bought to life by jolts of laughter and breathtaking stunts. Cinematic effects well illusions being used are way ahead of their time. Logical conclusion that "Sherlock, Jr." is a masterpiece is elementary, my dear Watson.

The stunts were phenomenal, but everything else was not as good.

This is film making in its purest form. Keaton is one of the most talented, creative, imaginative, and gutsy film makers ever to live, and Sherlock Jr. is an example of the wizardry he is capable of. I laughed out loud on multiple occasions (the pool table gag is absolutely hysterical), and I gasped in amazement many times (entering the movie, through-the-window costume change, motorcycle over trucks, etc). A truly amazing movie from one of the greatest figures in film history.

The framework story, where Buster (as usual) nobly tries and fails to win the heart of a girl, is typically sweet but not that interesting - it's the transition to the dream-world of Sherlock Jr. where things really kick off. It's a huge pleasure in itself seeing Keaton acting in the role of a confident, clever man instead of a loveable, stony-faced loser.

Old-fashioned and really quite boring. Probably amazing in 1924, but I watched the whole thing at X2 speed, missed absolutely nothing, and was still unamused. +18 points for its age.

Starts off a bit slow, but soon Keaton wins you over with his physical comedy and special effects. The stunt and effects work must have been years ahead of its time - there are better stunts in this than some new movies I have seen this year. Not really my kind of thing, but I was determined to give Keaton a chance this year and I'm glad to have seen it.

Very good. Keaton puts about as much as humanly possible in a 44 minute film. It's got the humor and stunts that he's known for and the entire dream sequence is pretty spectacular. The story is unfortunately a bit weak. It doesn't make it unwatchable by any means, but it keeps it from being a complete classic.

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I wouldn't have believed it if I hadn't seen it, but Sherlock Jr. is even better than Steamboat Bill Jr. or The General, which are great films in their own right. What separates it is not just the stunts, which, as is almost always the case in all of Keaton's films, are incredible, but the sheer ebullient joy of the films illusionism, the camera tricks, the relentless visual gags and invention, and the sophisticated understanding of the medium he shows.

There are some amazing stunts, some really funny scenes, and it doesn't overstay it's welcome at all. It's a really joyful experience.

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Yeah, very impressive editing in this one, and funny as hell to this day. Sure, the plot's paper-thin, but Keaton does some amazing practical stunts that make me laugh and feel a bit awed by the amount of coordination, timing and precision required. It also helps that it has a considerably more melancholy undercurrent. Put both those pluses together, and you get that tingly feeling that cinema's all about.

The oversized shoes make him look like a rip-off of Chapman's "Little Fellow", and is completely unnecessary given the very different nature of Keaton's comedy. Great stunts and sight gags. I prefer the warm fuzziness of Chapman, though.