Hellen I like the storyline of this show,it attract me so much

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Adeel Hail Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Freeman This film is so real. It treats its characters with so much care and sensitivity.

christopher-underwood An extremely well executed film with very difficult theme and despite the care and attention, never mind the pre-filming censorship problems, one wonders just who was likely to be the intended audience. Perhaps the answer is in the makers' fight for a certificate less than an 'X' on the grounds that otherwise children would not be able to see it. It seems that the intention was to send out a warning that not all is wonderful in the world and care should be taken when 'strange' men or simply 'strangers' offer incentives for children to disrobe. The film is of necessity disturbing and there seems little chance such a film would even today be made available to 'children', however hypocritical that is. Gwen Watford is excellent and Janina Faye as the 'victim' absolutely spot on in a very difficult role. Brave, literate and very powerful.

Scott LeBrun Give Hammer Studios credit for this one: they were ahead of the curve in exploring one of the most distasteful real-life horrors of them all. This isn't one of their period Gothics that tend towards the utterly fantastic. It's all too uncomfortably real. It REALLY hits a nerve, even if you, like this viewer, are not yet a parent. The corruption and despoiling of innocence is one of the worst things that we can imagine.Taking place in an Eastern Canadian village, but with a cast still largely consisting of British actors, it tells a tale (based on a play by Roger Garis) of happy married couple Peter and Sally Carter (Patrick Allen, Gwen Watford) who've come to this community where he will be a school principal. Very soon after arriving, their daughter Jean (Janina Faye) and her new friend Lucille (Frances Green) are victimized by elderly pervert Clarence Olderberry Sr. (Felix Aylmer, Polonius in Oliviers' "Hamlet"). The Carters find the path to justice a tricky one to navigate, since the Olderberry family retains such influence in the area.Marked by some very effective acting (Niall MacGinnis as the defence attorney, Alison Leggatt as Watfords' mother, Bill Nagy the old creeps' power-wielding son, Michael Gwynn as the prosecutor, and MacDonald Parke as the judge, et al.), "Never Take Sweets from a Stranger" plays out in a reasonably believable way, with all sorts of arguments being thrown about for how to proceed, and the facts of the matter. Olderberry Jr., understandably enough, has a hard time believing that his father could be such a monster, even though the old man DID spend time in a sanitarium.Exceptionally well shot in black & white widescreen by Freddie Francis (one of the greats in his field), this is overall a well made film and compellingly told story, which leads to positively chilling events.The material is handled is a respectably delicate manner by the filmmakers (including writer John Hunter and director Cyril Frankel), and fortunately does not tend towards the sensational, preferring to remain fairly low-key.Eight out of 10.

Woodyanders Hammer is best known for their horror pictures, but this studio also made a sizable number of thrillers as well. This particular thriller is perhaps one of Hammer's most powerful and unsettling entries in the genre because it's about something that can actually happen -- and sadly does happen all the time even to this very day. The Carter family arrive in a prosperous small Canadian town. When sweet and innocent daughter Jean (a fine and touching performance by Janina Faye) accuses the elderly Clarence Olderberry Sr. of making her and her friend Lucille dance naked in front of him for some candy, her parents decide to take Olderberry to court despite the fact that he's the patriarch of an extremely rich and influential local family. Director Cyril Frankel, working from a gripping and intelligent script by John Hunter, handles the delicate subject of pedophilia in a commendably tasteful, nonexploitative, and straightforward manner; while the subject matter is undeniably unpleasant, it's nonetheless made tolerable by Frankel's wise decision to avoid explicitness in favor of suggestion instead. This film further benefits from uniformly outstanding acting from a top-rate cast, with especially stand-out work from Gwen Watford as the concerned Sally Carter, Peter Allen as the resolute Peter Carter, Bill Nagy as Olderberry's protective and formidable son Richard, Nial McGinnis as the shifty and aggressive defense counsel, Michael Gwynn as the shrewd and compassionate prosecutor, and MacDonald Parke as a wise no-nonsense judge. Felix Aylmer contributes a memorably creepy portrayal as the odious Clarence Olderberry; he manages to project a genuine sense of menace without ever uttering a single word. Moreover, we've also got a strong and provocative central message about the corruption of both justice and innocence and the abuse of power. But what really makes this film so potent and effective is the fact that it's firmly grounded in a thoroughly plausible everyday world populated by equally believable characters (Clarence in particular is an all-too-real human monster). The uncompromising grim ending packs a devastating punch. Both Freddie Francis' crisp black and white cinematography and Elisabeth Lutyens' moody score are up to par. An excellent, albeit quite harrowing and disturbing film.

minamurray This will gather "unhelpful" votes from fans, but oh, well... Hammer was great with sumptuously lush Gothic monster stories, but messages were never their strong suite. Their clichéd Victorian patriarchs were always tormenting sanitized younger generation, and that was bad enough, but "serious" picture Never takes sweets from a stranger is worse. Film was described by producer Anthony Hinds as a movie about dangers of psychopaths roaming free, so who is this pedophiliac murderer in question? Oh yes, elderly mental patient, a real menace to society. Rolleyes. This makes film's "message" downright squalid, because in real life pedophiliacs are usually not dotty old men or outsiders of society, but doctors, priests etc. Just like in real life calculating pervert Hannibal Lecter would have been sent to death chamber instead of psychiatric facility. Thank atheism this film was commercial and critical flop and Hammer returned to what they did so splendidly - entertainment. Halleluja.