I think you're off to a good start.
Please consider the following is only opinion based on a first viewing.
I've tweaked my wording after viewing a few more times to confirm the first experience.
I'll ask a few questions in order to help you better understand what I am seeing.
The big question that drives all of these is this:
Where do you want the focus throughout the sequence?
- I start to see the Walker but before I can really make sense of what I'm seeing I'm distracted by the psychedelic lights.
- Before I can figure out what is going on with the lights the Red Guy enters front stage.
- Before I can really figure out what is going on with him the camera cuts to the building (nice following from the pointing finger to the correct direction though.. that works really well!)
While there should be other things going on all the time to benefits subsequent viewings what is going on should first and foremost be Secondary Actions. Anything that doesn't support the primary focus/primary action can and likely should be cut out of the sequence. The goal I think is to get the Walker into that room and that is what we need to see. Everything else is secondary, tertiary, etc. There is room for refinement here.
Is there a theme or story here?
I'd dearly love to know what theme you are striving for here as that would would help focus my critique. It's not readily apparent in the animation and so I'm seeking clarity. If you could change only one thing I would suggest it be to have the Red Guy enter the scene a little later.
That would give the viewer a little more time to see the Walker. Rather practically, he seems to be the focus of the piece and I'd really like to see more of him.
What is the Red Guy made of?
Perhaps he could fade in as he enters from the left and fade out as he exits the scene?
Where does Red Guy go when the camera cuts to the Walker again? (We are left wondering. I suppose he hangs out there as it's his sidewalk)
There is an opportunity for a hook up after you cut to the guy going into the building. If the camera angle will allow perhaps you could have the camera have a slightly Over the Shoulder (OTS) shot on the Red Guy (screen left) and then have him fade from the scene as the Walker walks into the building. The Red Guy pointing to the building it isn't quite subtle enough in my estimation.
Message the fade in/fade out would send: Mission accomplished!
Personally I think you could drop the Red Guy altogether and the animation would still work well but I understand his importance in the scheme of things.
My thought here is to find a way to blend the Red Guy into the scene in such a way as to punch up the impact of his appearance and yet not detract from the focus of the sequence. Perhaps he's an established mascot so you don't have that option but I figure likely is not (at least not yet). In this sense I think you could elevate his appeal and he very well could be. Perhaps exaggeration would work best. Smaller? Cuter? More Compelling? More Appealing?
Bottom Line: When dealing with the Devil it's important to understand (and in your case demonstrate) how he deals in subtleties.
In trying to refine my response I went back and read your post again and see you said this:
some critique if I have made any egregious animation errors.
I do recall the walk up the sidewalk worked well and the flicking of the cigarette was nice.
I confess that I was a little too distracted by the story/theme to actually 'see' the animation. That in and of itself might be a good thing.
Story first eh!
(Robert's crit was spot on and captured some more technical elements reside at a finer detailed level than I'm critiquing)