Everyone from Gary Cooper to Gandhi guests in the eighth of luchador Santo’s escapades. So what if they’re basically sculpted candles in a Mexico waxworks? They help make Santo in the Wax Museum a field trip worth taking. Get those permission slips signed early, kids.

Said museum is owned by Dr. Karol (Claudio Brook, Cronos), who’s particularly proud of the horror figures in the basement: Mr. Hyde, Quasimodo, Frankenstein’s monster, the Wolfman, the Phantom of the Opera. Despite all being fictional characters, Karol deems them “faithful reproductions.” Some stand noticeably more still than others.

When a foxy magazine photographer (Roxana Bellini, The Brainiac) doing a story on the place becomes the third visitor to vanish of late, Dr. K falls under the authorities’ glare of suspicion. They call upon El Santo and his sparkle cape to help find the kidnappers — well, between matches in the ring, naturally.

Is it possible that Karol’s time in a Nazi concentration camp infused him with mad-scientist leanings? You already knew the answer by paragraph 2. You wanna watch anyway. I get it. I feel the same, although — heresy alert! — I have no patience for its long wrestling sequences, even as I recognize the Santo series wouldn’t exist otherwise. One of Santo in the Wax Museum’s bouts pits our hero against El Tigre del Ring.

Taking inspiration from the then-decade-old House of Wax, director Alfonso Corona Blake follows up his first Santo pic, 1962’s Santo vs. the Vampire Women, but never made another. Both in black and white, the Blake joints were among the quartet dubbed for Yanks by K. Gordon Murray. —Rod Lott

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Your basic Saturday-matinee movie of rear projection and rubber suits, Destination Inner Space takes place at an underwater research lab. Inside, scientists express concern over a blooping blip on the ol’ sonar. As the skipper up top (Radar Men from the Moon’s Roy Barcroft) puts it to hero Cmdr. Wayne (Scott Brady, Strange Behavior), “There’s something odd going on down there.”

And how! The blip leads the crew to an alien spaceship on the ocean floor. Automated to push a glowing triangle ice-cube thing from its wall, the craft contains a capsule shaped like a tablet of cold medicine. When they take the mystery container back to base and dare open it, they let loose a finned monster who could be the Creature of the Black Lagoon after years of eating exclusively at Steak ’n Shake. From there, the movie is reminiscent of It! The Terror from Beyond Space, but with establishing shots filmed in someone’s living room aquarium.

Also aboard Destination are Wende Wagner (TV’s The Green Hornet) as Wayne’s love interest, Mike Road (the voice of Race Bannon on TV’s Jonny Quest) as Wayne’s rival, Sheree North (Telefon) as a marine biologist who mostly tends to the men, and the legendary James Hong (Everything Everywhere All at Once) as the world’s preeminent mechanical engineer and deep-sea diver. Just kidding; ’60s sci-fi being the domain of Caucasian squares who all look ready to sip G&Ts by the hi-fi, the Asian Hong plays the SEALAB chef, complete with bird on his shoulder.

Although merely serviceable, Destination Inner Space excels in the department of subaquatic footage. Clearly, director Francis D. Lyon (Cult of the Cobra) is aware, repeating scuba-dooba scenes (like a two-man submarine in action) as often as possible to steer this ship to 83 minutes. —Rod Lott

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Maybe it’s just me, but if I had escaped the clutches of a serial killer named El Diablo, then fled to a new locale for safety, the last house I would move into would be the one with a security system from a company named Diablo Controls. That would go double if said company used a devil’s head for its logo. And triple if the place’s previous tenants disappeared without a trace.

Yet that’s exactly what the remarkably dumb spouses at the center of Motion Detected do, which instantly puts the movie on terra not-so-firma. So dunderheaded are they throughout, I wouldn’t be surprised if the next-door neighbor turned out to be the guy from The Break-In. Hey, there’s suspension of disbelief; then there’s something called a second draft.

Emma (Natasha Esca, TV’s Narcos: Mexico) and Miguel (Carlo Mendez, Bitch Slap) constitute the aforementioned couple. Their new abode spots the Diablo system — one so advanced, it can sense residents’ heart rate and analyze their dreams. Quoth Emma, “I can’t figure out if this thing’s going to protect me or if it’s going to kill me.” Famous last words …

… except many more have yet to come. Motion Detected makes for a long 80 minutes, especially after Miguel bolts for a biz trip, leaving Emma stuck at home — and often in the home, like a rape-free Demon Seed scenario. Viewers are abandoned, too, on an idle path of circuitousness events: Miguel calls “mi amor” to say he has to stay an extra day or two; the Diablo alarm goes off; Emma investigates and talks to herself; repeat. This might jolt some juice if the movie’s prologue didn’t literally give up the ghost.

Culminating in a laughable scene even the most misguided Twilight Zone imitator wouldn’t settle for, Motion Detected barely moves. In their first feature, co-directors Justin Gallaher and Sam Roseme at least can deflect a chunk of blame to their screenwriters: Justin Gallaher and Sam Roseme. —Rod Lott

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Hoopster Shaquille O’Neal’s efforts to become a matinee idol didn’t exactly pan out. The basketball drama Blue Chips didn’t score with moviegoers. What little audiences Kazaam had, it was one genie they wanted to put back in the bottle. And Steel, based upon a DC Comics character I hadn’t heard of until then, was too cheesy for the average action-seeking bear, not to mention too early, arriving before obscure, D-list superheroes became bankable. At least it’s watchable.

Shaq stars as John Henry Irons, a weapons specialist who quits the Army, only to find the deadly, sonic-boom tech he turned his back on has turned up in the hands of gangs on his hometown streets. It’s all about the Benjamins. Judd Nelson (Relentless) and his sneering nostrils fill the role of preppy villain, tailor-made for over-the-top hamminess — a bar Nelson easily clears.

To combat the undesirable element, Irons fashions himself a suit of bulletproof armor and carries a big-ass hammer, both made of steel. Hence, the name Steel. This would-be superhero is aided by his handicapable scientific genius/love interest Sparky (Annabeth Gish, Shag) and a white-bearded Richard Roundtree (1971’s Shaft). The latter thoroughly embarrasses himself by saying, “I’d boogie ’round that like a Soul Train dancer,” then doubles down with, “Well, dip me in shit and roll me in bread crumbs!”

As a writer and director, Kenneth Johnson is responsible for some of American television’s sharpest science-fiction series, including V, The Incredible Hulk and Alien Nation. But he’s also responsible for this dumb-as-rocks adaptation. Nonetheless, Steel manages to squeeze entertainment value from nearly its entire running time. Many references to fellow DC superheroes Superman and Batman are made, in between a running joke of Shaq’s character being unable to make a basket. A subplot hinges on whether Steel’s stereotypical granny can make a soufflé. —Rod Lott

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Even if only for marketing purposes, the possessive movie title is usually reserved for your Alfred Hitchcocks and John Carpenters and your Stephen Kings — you know, your name-brand filmmakers and creatives. Nonetheless, here’s Phil Herman’s Doomsday Stories.

For this multidirector microcinema anthology, Herman (behind such SOV faves as Burglar from Hell) hosts as Zorack, one of a mere 8,000 people remaining worldwide, following the apocalyptic “Meanies” virus. As savages outnumber humans, Zorack roams the earth, occasionally stopping to read from a clutched composition book containing “stories from the old world.” Of the five, one entertained me and another impressed me. Also, three characters are named James.

The entertaining one comes from Florida’s prolific Joel D. Wynkoop, offering a possessive of his own: “Joel D. Wynkoop’s 187 Times.” Attempting to prevent the virus, Wynkoop’s nebbish protagonist hops throughout a 30-decade time span, up to 2050. Each time he thinks he succeeds, the ol’ butterfly effect rears its wings. Its slight comic tone, breathless pace, clever premise and good-enough computer effects make it endearing.

The most impressive is “A Broken Promise” from Derek Braasch (Murder for Pleasure). Approaching an epic sweep with a Western flair, Justin Bower’s crawfish-capped Rick Butts and his canine companion scavenge for food in rural Illnois. They encounter everything from kid zombies to rednecks with a hankering for “dog steak.” The short may look like Paul Blart: Last Man on Earth at first glance, but for being so hamstrung, its sheer scope is mighty accomplished.

Lesser segments involve an organ recruiter and a fevered phone call between siblings. And in “Bomb Threats” from Hollywood Warrioress’s James Panetta, a woman (Debbie D, Herman’s Jacker) wrongly decides to seek emergency shelter at the home of a man she just met at a bar (Jim Ewald, Nacho Mountain); W.A.V.E.-style torture ensues. Its high point is her hysterical retort, “You’re a sick, sick weirdo! And a rapist!”

In between each, Herman cuts back to hosting duties — sometimes with the wind beating the crap out of the camera’s microphone — and waxes nostalgic, e.g., “Man, that brings back some memories. Some bad memories.” At two hours and then some, though, there’s enough variety that to leave with a couple of good ones. —Rod Lott

Get it by contacting Phil Herman or Joel D. Wynkoop on Facebook Messenger.