From the director of the first Nick Carter films we get an indication of the crime-action cinema to come. This one is more the heir of the GREAT TRAIN ROBBERY than an acknowledgement of the character cinema of contemporary Griffith work but there are some shots (the sustained two car moving inset) which still impress and there is a notable absence of the del sartor gesturing we associate with early film. No close ups and the personnel are barely identifiable.The mustache twisting Bonnot (become Bruno) gang do robberies and murders using their car but a superimposition of the dream guillotine foreshadows their grim fate.