Night Train to Terror is undeniably trash, but its pleasures, paradoxically, are entirely intellectual. In its own unintentional, mercenary way, it severs the tension cord linking high and low art. It is, finally, only really valuable as a theoretical exercise, a strange cinematic mad science experiment (a connection that runs deep in cinematic history) in which several unfinished older films have been sliced and diced to pieces and reassembled into walking corpses of their ostensibly living selves. Born out of the forgotten remainders of unfinished horror pictures, this is an avowedly monstrous exercise in revivifying films that, as Frankenstein’s Monster himself once said, “belong dead.” That the film itself admits that this undertaking may itself be an immoral act – “bodies for money,” one character remarks in the first short film – is simply part of the fun. Night Train to Terror is a strange kind of cinematic meta-archive that salvages films while also working as proof for both the argument that this very salvaging is a heroic act and, conversely, that the films should have never been salvaged in the first place. It is, in the most literal possible sense, hack work.

All of this is to say: Night Train is probably an un-reviewable cinematic object. It feels like outsider art, so anything like a conventional standard of textual coherence or roundness seems essentially meaningless for parsing it or accessing its soul. Make no mistake, though: this is no labor of love. Its only investment is ensuring that scraps of lost and found footage might make a few dollars when unleashed on the unsuspecting, or on those who have deluded themselves into thinking this is a real movie, or on people like me who, apparently, hate themselves. For director Jay Schlossberg-Cohen, this is self-evidently an attempt to salvage a collection of films that couldn’t, or wouldn’t, cohere the first time around, footage that, as if by some demonic force, simply would not coagulate into a stable form.

William Castle wasn’t a natural artist, but he was certainly an organic showman of the P.T. Barnum tradition, a skillful and wily craftsman with a populist’s canny sensibility for manipulating without upsetting the status quo to his liking and a magician’s eye for how to do more with less and play in the realm between appearance and reality. Case in point, Strait-Jacket, a self-evident Alfred Hitchcock knock-off with no new ideas, and which doesn’t even try to pretend like it has any actual ideas, but whose successes still, through some magical sleight-of-cinematic-hand, somehow feel entirely its own.

Strait-Jacket is certainly a copy-cat, but then, the writer Robert Bloch did write the story upon which Psycho was based, so it’s hard to criticize him for that. Plus, while Strait-Jacket shares Psycho’s lurid morbidity and fascination with the darker regions of America lurking beneath the facades of normality, Castle’s film mostly wants to play with us rather than to play us, as Hitch always essentially did. This is an essentially democratic film. Rather than exercise a cruel, conniving, beautiful mastery, it invites us in to a strange corner of America for a little while and then lets us leave. Straight-Jacket’s raison d’etre, certainly, is the sudden success of Psycho, which sent a dark chord down the spine of an already decaying Hollywood and threatened America with the sudden fragility of notions like “protagonist.” But Castle’s soul was that of a playful huckster just delighted to show us how he can, technically, show several heads being lobbed off in 1962 because they look cartoon-y enough to get by the censors, who don’t really seem to care when the film is this off-brand. That may be a gross reduction, even a debasement, of Hitchcock’s seminal masterpiece, but it isn’t exactly a rip-off.

First things first: a film that begins with a thank you to the mayor of Atlanta and the governor of Georgia, immediately propositioning the audience with a fantasy of verisimilitude and access, and then immediately cuts to a totally opaque, ethereal non-space while an elderly John Huston, fresh off of voicing Gandalf in the animated Rankin & Bass The Hobbit,  appears as an unknown prophet on an alien planet that looks like Mos Eisley, isn’t ever going to lose me completely. We seem not to be in Kansas anymore, and this high up in the sublime tornado of chaotic-evil cinema, we’re probably doomed to fall.

Yet, amazingly, The Visitor holds up its end of the bargain. It is only when we cut to a basketball game that the real mystery of the film reveals itself: how is it that essentially unknown director Giulio Paradisi never made another horror film, and his subsequent two films were apparently easy-going Italian comedies, before he unceremoniously never directed again?  The Visitor’s opening basketball game is a beautifully opaque textual object, a killer opening to a film that is a bricolage of genres and textures and uncanny thematic and technical juxtapositions revealing a director of real mettle and a vision of extraordinary curiosity. This is a stupendously unsettling game of hoops, a cut-up event in which the camera floats around with haunting observational acuity, like a deconstruction of a sporting event from a ghost’s alienated perspective.

Perhaps even more interesting: a latter combination gymnastics event/bullet-removal surgery sequence (you know, one of those type-deals) clarifies that much of The Visitor is an experiment in mobilizing giallo-style filmmaking for primarily non-kill sequences. While some of the set-pieces do technically result in dead bodies, as in a phenomenal bird-in-a-car dive bomb, even they are far-removed from the giallo’s usual stalking ground. Instead, we explore everything from public sporting events to overcrowded hospitals to an abandoned apartment building to the innards of machinery scaffolding, each of which the film turns into a genuinely ethereal cinematic experiment in sheer observation.