Harry Roger Smith:

The foundation for a really nice animation is all here, but I think you need to focus on your timing as well as your poses. You could do with holding your poses a lot longer, as at the moment they all sort of blend into one. With your timing, they feel like they don't quite hit the beats of the dialogue. Play around with the timing of your poses a lot when you're blocking out before rushing in to splined. Try to work on including some interesting breakdowns between your poses as this will help your transitions as well as give you some nice arcs :)

Christoph Lendenfeld:

remove the man in the background. its just distracting from the the main character. I almost expected him to play a part in this dialoge, especially when he turned towards the camera in the end

Ellen Roberts:

Overall the animation is quite good. I think your strongest bit is between frames 138-170, how he's unsurely looking back and fourth. But the biggest pointer I have is to keep his body moving at 225-250! The problem with 3D animation is you can't get away with still frames. The movement only has to be subtle, so long as it isn't dead still.