Sci-Fi
Rod Lott
It's 2018, and a U.S. president who looks uncannily like Sarah Palin sends a black man to the moon in a bid for re-election. The American lunar module lands on the dark side of the moon — you know, where the Transformers live — and finds an enormous Nazi outpost that's been there since Hitler's plan for world domination failed.

Comedy
Rod Lott
If movies could be drug-tested, The Phynx would be in big trouble. The 1970 comedy is not just an obscurity, but an oddity, like a hallucinogenic brew mixed by Peter Max and Hanna-Barbera. Newly rescued from Nowheresville by Warner Archive, the film is a spy spoof on the goofball level of Get Smart — in spirit, that is, not creatively.

Horror
Rod Lott
Call me crazy, but 3,400 square feet seems like an awfully massive home for a strip-mall veterinarian's assistant and a Geek Squad-esque installer of home-theater systems. Then again, the place does have its drawbacks: doors open on their own, furniture moves mysteriously, mold appears, and then things start to die within its well-mortgaged walls — a Costco cactus here, the neighbors’ dog there.

Comedy
Rod Lott
Reveals Big Tits Zombie lead actress Sora Aoi in the disc's behind-the-scenes footage, "We have action, nudity, striptease, zombies, and splatter." Oh, you guessed that already? Either way, her eight words could double as a review.

Comedy
Rod Lott
We’re slipping, America. It look to Ireland to make the best horror comedy in recent memory, Stitches. The subgenre is one of the toughest to pull off — a feat about as rare as finding a four-leaf clover.

Sci-Fi
Rod Lott
Ignore the grim, apocalyptic cover of this DVD, which depicts the flick’s vibe so inaccurately, it even drops the title’s exclamation point. Make no mistake: Mold! has mirth on its mind ... even if those brains have spilled onto the floor.

Action
Rod Lott
While it's admirable that Parker is dedicated to the memory of Donald E. Westlake, the legendary crime author who wrote two dozen novels about the character under the Richard Stark pen name, this Parker is not his Parker. It's Taylor Hackford's, and the director continues to apply his nondescript, workmanlike touch to average material (see Love Ranch, Ray, Proof of Life, etc.). He neither improves it nor harms it; he simply keeps it afloat.