The Stranger (1946)

An investigator for the War Crimes Commission (Edward G. Robinson) attempts to uncover a notorious Nazi who's doing a stand up job of hiding in plain sight, posing as an American professor in Connecticut. With no pictures to help identify his target, the investigator must use his wits as best he can.
Considering what the studio did to The Magnificent Ambersons (1942), it's understandable that Welles took a more conventional approach to The Stranger than he might have done otherwise. It's still a mostly enjoyable feature, with gorgeous Noir lighting to die for, but the feeling that it could've been much more if he'd been willing to apply himself more determinedly beyond the technical side of things is a difficult feeling to shake off.

3 paper trails out of 5

F for Fake (1973)

In Orson's own words, it's a "film about trickery," which is something that's explored in both the subject matter and through the medium via which it's presented. Part documentary, part biopic, and part essay on the nature of what's real and what's fake, the film twists perceptions while remaining wholly faithful to its own agenda, whatever that may be at any given time.
Its carefully constructed randomness is anything but. Hiding insight inside of hindsight, at times it's as frustrating as it is revealing, but about what exactly is open to debate. Ultimately, it's a work made and narrated by Orson, but might be more about him than anyone else featured in it, real or constructed.

4 authentic mixtures out of 5

Transformers: The Movie (1986)

A giant ball of evil that eats planets is en route to Cybertron. Meanwhile, the Civil War between the honourable Autobots and the treacherous Deceptions rages on, meaning the new threat forces the Autobots to fight a war on two fronts. There will be heavy casualties.
It's not the most sophisticated story ever animated, but there are some interesting parallels and contrasts throughout. Mostly it's a series of action scenes that astound. For most people that's the reason they watched TF, so in that respect it delivered.
On a sadder note, it was the final film role for both Orson Welles and Scatman Crothers. Orson got the better role.

3 sizzling circuits out of 5

Macbeth (1948)

Orson Welles' bleak version of the Scottish play forgot that it was Scottish, even in the supposed accented version, but it did remember that it was supposed to be dramatic. It's more ghostly expressionistic stage production than film, but that just adds to the ambitious charm.
The reason it doesn't score higher is because of moments where it plummets into unintentional comedy (that crown!) and the often rigid delivery of lines (dialogue was pre-recorded) that left little room for freedom of movement within the lengthy scenes.

3½ cauldron bubbles out of 5

Orson Welles: The Paris Interview (1960)

A great interview with the big man that shows how intelligent and knowledgeable he was about almost everything under the sun. He laughs at his own shortcomings and takes criticism on the chin. All the while he breathes like the air is being sucked out of the room while chomping on a fat cigar. He retains his dignity throughout.

4 art forms out of 5

Citizen Kane (1941)

The rise of the reluctant millionaire, the titular Kane, set a permanent benchmark that Hollywood has struggled and mostly failed to reach ever since. I've no doubt that the assholes and wigs at Hollywood both love it and loathe it for the same reason. It's their pride and their albatross. It's still the finest début feature I've ever seen and is as enjoyable on the twentieth viewing as it was on the first. I could write a book on the things I love about it, but I won't because as every penniless film student knows there are more than enough of those available already.

5 regular crows out of 5

The V.I.P.s (1963)

Spend time at an airport terminal and you'll catch glimpses of other people's lives; mini-dramas, all slightly connected due to the shared location.
Elizabeth Taylor looks gorgeous doing her thing; Richard Burton steals the show, like he often does, doing his; Orson Welles pops up and does something different. The sense of attachment and emotion is absent, except for one fabulous scene. If you must, watch it for the cast and not the script.

2½ toy ducks from Woolworths out of 5