• You'd expect an Orson Welles movie to be better. Heck, you'd expect that the subject matter, a major Nazi on the run, might inspire a good script. But it's the laughably improbable script that sucks The Stranger into the black hole of turkeydom. (How does the villain fit as quickly and smoothly into American society as we're supposed to believe? Isn't it a bit odd, at his own wedding, that none of his family or friends show up as guests? After a certain point in the plot, why not just arrest him, rather than face screaming headlines, ESCAPED NAZI MASTERMIND RUNS AMOK IN SUPREME COURT JUSTICE'S HOME TOWN?) Plus, the final scene is foreshadowed in such a thuddingly obvious way that you'll likely bust out laughing. Welles' own acting is bad, confined to raising his left eyebrow and staring distractedly away from whomever is talking to him. Skip it and watch The Third Man or A Touch of Evil again instead.