This rates three stars for the humor I found in its plot holes, bad animation and ludicrous plot. It's too bad nobody at MST3K got permission to riff this film.The premise, that scientists can only retrieve the spy's memories by making him think he's 150 years in the past is never explained sufficiently, it's just a way to avoid using futuristic sets. Even though they create an isolated compound complete with period buildings and antiques gathered from multiple museums they can't seem to keep intruders from using the prop telephone to wrinkle the plot. Nor can they prevent a pretty girl from hiking along to flirt with their test subject and spoiling all their work.Psychedelic patterns are used to obscure the poorly done matte paintings, action sequences and other "memories". Clear plastic helmets on the military add some unintentional fun as does the Dickensian matron of the "kinery" (sic). Somehow in this future they've stamped out most disease but don't seem to know how to immunize against smallpox and the plague.I looked forward to seeing this as I never saw it in theaters as a kid but it's far from Castle's best work. This was ambitious but failed to capitalize on it's few good ideas. By the end I half expected Monte Markham to turn out to be Sen Chui in disguise but instead he's just a traitor, ultimately killed by a red mental tornado whipped up by Christopher George's character. You'd think the General would want to harness that as a weapon but no, he just wants to berate scientists.

Following a couple of lame genre spoofs starring Sid Caesar, producer/director William Castle had hoped to return to his previous successful formula – albeit via a more sober approach – with the screen adaptation of Ira Levin's classic diabolical chiller ROSEMARY'S BABY (1968); however, the powers-that-be at Paramount only allowed him to produce, while placing acclaimed Polish auteur Roman Polanski – in what would prove his U.S. debut – at the helm. The resulting film was a veritable milestone of the genre – but, in compensation, Castle was given the movie under review to direct…after which, as it turned out, he lay down his boots in this capacity for six years running! Incidentally, 1968 also marked a great year for Science-Fiction cinema, under which banner – the former Horror master's first and last – PROJECT X falls, since it saw the release of both 2001: A SPACE ODYSSEY and PLANET OF THE APES which, needless to say, overshadowed Castle's effort…even if, for what it is worth, along with his subsequent bizarre venture SHANKS (1974), the director's last two pictures emerged as definitely his most original (thus interesting and considerable)!Anyway, to be sure, the movie is a futuristic tale with ideas far above its' maker's usual station (only THE TINGLER {1959}'s analysis of Fear and HOMICIDAL {1961}'s probing into personality disorder, both dealt within the context of a shocker, had previously attempted anything of substance); indeed, here we have a secret agent struck by amnesia while in possession of the enemy's plan for world domination! While this can be seen on the one hand as the director's take on the current craze for James Bond imitations (thus resembling FANTASTIC VOYAGE {1966} in its mix of sci-fi and espionage), the plot also involves an elaborate scheme to induce a fictional, past and crime-oriented existence into the leading man's psyche in the hope that his subsequent paranoid feeling can unleash – via holograms depicting his unconscious state – the vital information needed to thwart the Orient's nefarious designs on the Western world! In this respect, it anticipates the likes of the two TOTAL RECALL (1990 and 2012) movies and THE TRUMAN SHOW (1998)…while also keeping in mind that the WWII thriller 36 HOURS (1964) had already used a similar ruse! The film, then, is decidedly fascinating and relatively satisfying in the long run; that said, some elements – owing perhaps to its B-movie origins – do not work. For starters, Christopher George (who had been so striking as John Wayne's black-clad nemesis in Howard Hawks' EL DORADO {1967}) never really gains our sympathy as the perplexed hero (indeed, genial scientist Henry Jones emerges as the true protagonist)! Since the two narrative strands – real (that is, 22nd century) and fabricated (contemporary) – move in fits and starts, one has to constantly tweak his mind-set to the characters' within each particular setting; besides, their own adjustment to the 1960s lifestyle is too smooth despite professing obliviousness to what passed for the norm in that by-gone era – while the would-be technological advancement produces predictably streamlined sets (albeit featuring now-hilariously gargantuan computer systems imparting inevitably archaic feedback) and goofy costumes (notably transparent helmets for the men at the military base and skimpy outfits for the female factory-workers)!An intriguing yet potentially exasperating notion was the use of solarization, aided by a bit of Hanna-Barbera animation for good measure (a' la FORBIDDEN PLANET {1956}), for the recreated images pertaining to the 'lost' mission – which also see Keye Luke as the 'yellow' mastermind and Monte Markham as a defector (eventually violently dispatched by George's telepathic skill much like the same year's THE POWER!). By the way, I had first acquired this via a washed-out VHS rip but, realizing it had been jointly released on DVD and BluRay by Olive Films, I managed to acquire a copy of this handsome-looking edition in time for my ongoing centenary tribute to Castle!

MASTERFUL performances from Christopher George (as always) and newcomer Greta Baldwin make this William Castle Sci-fi adventure truly exciting, innovative, classic space adventure with a deep message and meaning. Monte Markham adds another polished performance to his long list of superb acting film and TV credits. The film is way ahead of its time 1968 and deserved Oscar recognition. A truly well made, beautifully acted gem. Christopher George one of the greatest 60s/70s tough action leading men gives another epic, dedicated performance that put to shame other so called major stars. To correct some imbecile comments it is the presence and acting ability of stars like Christopher George, Audie Murphy and similar leading action men that make a film watchable and memorable.

I actually have a videotape of "Project X" and that makes me one of the few people that has actually seen this movie in the last thirty years. The movie deals mostly with biological warfare, human genetic manipulation, and mind machine interfacing. It was prophetic in a way that it predicted that Genetic Engineering was a coming thing. Despite it's rather low budget look, Henry Jones as the head scientist gives this movie an aire of reality. The mystery is the meaning of the last message the amnesiac agent sent to the West, a doomsday message, and we are kept guessing to the end what that doomsday message means. A memorable moment is when Karen Summers meets our amnesiac agent and the friendly way she acts and picks him up is something I've often imagined might happen to me someday. No wonder the bad guy kept breaking into her room, he was the only other guy to see it. Another scene that is memorable is when the released anger thing, whatever it was, does whatever it did to the meanie bad guy. That's something I have never forgotten.Well if you haven't seen this movie, you missed a classic and good luck trying to find it.