Good concept, poorly executed.

Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

One of the best movies of the year! Incredible from the beginning to the end.

Amazing worth wacthing. So good. Biased but well made with many good points.

For one horrible moment it looks as if Mason is going to play the whole film in an ill-becoming naval beard. Fortunately he gets the sack early on and is able to shave it off. As you know I operate on the principle that any film with Herbert Lomas is an entertaining one. Good old Lomas has a typically spooky informative role here, even if but a brief one. And as for finding my favorite comic detective/spy chaser Tom Walls on the wrong side of the law for once, it's a pleasure... If this comedy-thriller is a bit shy in the laughs department — despite (or maybe because of) its hard-working heroine — it certainly delivers the thrills. Three or four scenes (a rendezvous with a corpse in a spooky house; attempted murder on a speeding train; Chesney playing the secret code) are staged with all the flair and panache of the master himself. In fact, when you come right down to it, the script has quite a few echoes of The 39 Steps, The Lady Vanishes, Number 17, and Young and Innocent.The Director: A refugee from Hitler's Germany who served in the Royal Air Force during the war, Lamac has an extraordinarily large number of distinguished European films to his credit including The Bat, Little Dorrit, White Horse Inn, Hound of the Baskervilles and The Ghost Train.

Kurt Kaszner who has certainly played his share of villains on the screen has come to settle down in a small California town in the citrus fruit growing area. He's surly, bad tempered, and scares off anyone trying remotely to be friendly to him. Especially young Billy Gray who has a paper route that Kaszner is on. Even Gray's father George Murphy can't get any kind of smile out of him.In a small town, a fellow like Kaszner is bound to raise eyebrows, but no one outrightly accuses him of anything until a dog that young Mr. Gray has adopted is poisoned. Of course there's a lot more to the story, but I won't spoil anything by going farther. Talk About A Stranger can be deadly if you don't know the facts and let the worst impulses in your mind start taking control.Talk About A Stranger is an unpretentious film from MGM's B picture unit which has a simple message and speaks it plainly. Nancy Davis is in this as Gray's mother and Lewis Stone is in this as well in one of his last films.The film has a nice moral lessons about jumping to conclusions before all the facts are in.

I found this film to be quite boring and the plot just plain silly. Once the boy finds his dog dead, with the expertise of a vet, he exclaims, "My dog has been poisoned!, and it was Dr. Mahler!" Even more ridiculous, his father responds, " I wouldn't put it past him!" Then they go to the mysterious Dr.'s house to confront him, only to hear his denial and leave. Definitely a kids movie to teach the morals of not "judging a book by it's cover". But if anyone thinks this is even mildly creepy, you would never survive the Boston subway system. No wonder why the director did not direct any major film for over 8 years after this piece of silliness. Some good camera work, but it still feels like a Leaver it to Beaver episode. Watch it at your own risk.

An old dark house in a California orange-growing community gains a mysterious tenant, and, scared on Halloween, the kids take an instant dislike to him. When the mutt belonging to one of them, Bud (Billy Gray), is later found poisoned, Bud fixes on the strange neighbor as its killer. With a November freeze threatening the crop, already restive townsfolk start to gossip, egged on by the implacable Bud. His parents, George Murphy and Nancy (Reagan) Davis -- both actors to become major forces in California and national politics in the next decade -- find him careening out of control. The story starts out as a fairly routine thriller based on a courageous (for its time) caution against McCarthyist hysteria. But then it turns into something more complex and memorable. When Bud sets off to find incriminating evidence, the tone and the images grow more gothic and evocative. John Alton's superb cinematography conjures up masterful effects from the smoke rising from the smudge-pots, the twisted branches and dark foliage, and the beclouded moonlight. (There's much in this movie that steals the thunder from Charles Laughton's solo masterpiece, the 1955 Night of the Hunter). The script deserves credit, too, for resolutely retaining the young adolescent's point of view while never stooping to condescend.