Brightlyme i know i wasted 90 mins of my life.

Cleveronix A different way of telling a story

Leoni Haney Yes, absolutely, there is fun to be had, as well as many, many things to go boom, all amid an atmospheric urban jungle.

Kamila Bell This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

thursdaysrecords Edward G. Robinson is perfectly cast as the relentless detective, determined to capture evil Nazi War criminal Orson Welles. Loretta Young is somewhat annoying as the newlywed who seems almost hypnotized by and devoted to Welles, who reveals to her his mean spirit in almost every shared scene. Although very much "formula" and predictable, the film does have it's shining moments. Clever editing gives several key scenes very effective visual and audible transitions. The character of the ever checkers-playing town gossip/shop keeper/phramacist etc. is a delight. True to Hayes Code norms, husband and wife sleep in separate beds, and you can rest assured that "God don't like ugly", a foregone conclusion depicted quite appropriately toward the end. This film may be dated in many ways, but credit is due to Welles', for handling the gritty topic of Nazi War Crimes so soon after WWII ended and the world learned the truth about Hitler's Holocaust. This is no Double Indemnity or Citizen Kane, or even Third Man, and it certainly isn't Loretta Young's finest hour, but for fans of Classic Hollywood, "The Stranger" is still well worth a bag of pop corn and a Coke. Enjoy!

Joli M 'The Stranger,' came out only two years after the official end of World War 2. As such, tensions would have still been riding high to someone watching this in theaters at its' release. This film might actually be a great way to introduce some aspects of the holocaust to someone of a newer generation--it gives some specific highlights of what was done in Europe at the time, after all. And there would be no need to be well versed in the events of the rise of Hitler, or so forth to understand the weight of what Orson Welle's character represents. Although, having some background will certainly make you feel no sympathy for the way things eventually pan out at the end of the film. It felt a little as though there were some cues taken from 1931's Frankenstein; which felt perfectly used in this small world of a Connecticut Town where usually you would expect nothing out of the ordinary to invade people's daily lives. Also, the Actress playing Franz's wife gave an awesome performance. By the end, she has really become one of the strongest characters in the film. The detective, played by Edward Robinson is someone i have seen as both a villain and a a hero in movies. As such, his casting in the film felt like a great wild card that kept me on edge on his first appearance. Beautiful, well done movie. Highly Recommend.

Tyler Newell This film has a lot of details to how it's crafted that are sure to hook you from start to finish without even needing to be particularly fond of the plot. The extremely low key lighting throughout most of the movie makes the focus of a shot stand out while also looking like some sort of near-abstract painting. The characters' voices all have this strange, hypnotic bravado to them that forces you to pay attention to every word spoken. The camera is given very unique vertical placement as well as horizontal: in any given scene, you'll likely be looking up or down at something rather than being on even level with it. It's a surreal yet satisfying experience that I'd recommend to pretty much any Film Noir fan.

j-maloney13 Another terrific film and performance by Orson Welles, as he plays a sinister criminal in this film. Welles utilized fade in and out, as well as dissolve cuts for his transitions. Since this is a noir film, there was a great amount of low key lighting, but high key was used too. Welles really likes to use the low angle and high angle shots, as the shadows on the character's faces that are created from these shots gives them a more evil presence. His usage of music was great as usual, with the more non-diegetic intense music picking during action sequences. There was a lot of close ups and medium shots, over shoulder shots, as well as tracking shots. One scene in particular used a crane for a tracking shot, following the detective as HE follows a man from a distance. Overall, the performance by Welles was phenomenal, with the sinister and calm nature of his delivery when describing how he just killed a man, and very intense sound of tick-tock to add the suspenseful notion that time is running out during a pivotal scene. If you are a Welles fan, no reason to skip this one.