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The Motor City Cinema Society welcomes you back this Monday June 15th, 2026 with open arms for the second film this season featuring… a killer arm! The sci-fi/horror classic Laserblast (1978). 

Silly as it might seem, but nevertheless true: two weeks ago we brought you The Crawling Hand (1963) in which the severed arm of an astronaut wreaked havoc on a small town. We then took an artful detour with The Crying Game (a genuine masterwork from 1992; the only connection between it and the former being their alliterative titles) and have now come back to the magical land of shlock with one of producer Charles Band’s earlier exploits, about an alien arm-weapon subsuming a young man as he descends into a murderous rampage. Just like with The Crawling Hand, many were acquainted with Laserblast by way of Mystery Science Theater 3000, from the 1996 episode that imbedded it into the awareness of television viewers.

Few would argue with the claim that in the 1970s there are two distinct eras: before and after Star Wars (1977). It’s one of the most notable shifts in film history, including lasting effects on how they were since made and marketed. And, as with any influential work, unfortunately (or fortunately, as the case may be), imitation, the sincerest form of flattery though it be, brought about countless space movies for years to come, most of which were objectively bad. 

Laserblast of course falls into the ‘after’ category, but is an atypical and somehow dark riff on the whole matter, demonstrated best by a curious shot near the end of the film - of a sign that simply reads “Star Wars” on the side of a road which is promptly blown up (take THAT, George Lucas); destroyed by the alien weapon that has possessed Billy Duncan (Kim Milford). To make the situation even more convoluted, Milford was not only in Laserblast in 1978, but also Corvette Summer (which we’ve also played at The MCCS Screening Room). Of course, that film is the Mark Hamill vehicle from the height of his then-new Luke Skywalker fame.

It must be the influence of Charles Band, the godfather-to-be of Full Moon Features, that is most responsible for the bizarre and wonderfully crummy tone that is the ordeal of Laserblast, just as he was later responsible for such attractions as Dollman Vs. Demonic Toys (1993) and Evil Bong 420 (2015). It may or may not be surprising that most any film print of an outrageous Full Moon Feature would fetch a relative small fortune online today. Why? Who knows. But, this is the era of ‘VHS grading’, after all.

But, it is also true that time has done certain favors for Laserblast, and there is much for a viewer to enjoy even without our MST3K friends, including the obvious fun of the bygone era it captures (feathered hair, ascots, Eddie Deezen…), as well as its charming special effects – such as the stop-motion aliens which have a certain sophistication even in their crudeness; they’re definitely hand-made. There is also a sense of practicality in the production of Laserblast, as was the working style of motion pictures of that time. It’s irrefutable that casts and crews worked hard to make such “cheesy” movies as this. These people made films. 

So, come have a ‘Blast’ with us this Monday and enjoy this peculiar film in all its 1978 splendor the best way possible - on a vintage 16mm print with just the right amount of graininess and color fading. See why all movies are beautiful when shown on film, from the Art House to the Grind House.  

The Motor City Cinema Society invites you to a very special 35MM presentation of

Monty Python and the Holy Grail (1975) at the historic Redford Theatre, Detroit’s Movie Palace!

A timeless comedy classic, this film premiered just one year after their groundbreaking

television program Monty Python’s Flying Circus (1969-1974) went off the air in England. By its

fourth and final series it was shortened to simply Monty Python and unlike the first three,

Graham Chapman, Carol Cleveland, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin were

temporarily without fellow Python John Cleese for its briefer six episode run.

Once their avant-garde program had finally run its course on British airwaves, all forty-

five of its episodes were nearly erased (slated to be recorded over by the BBC to save money on

tape costs) were it not for Terry Jones personally saving the master copies himself, just as Terry

Gilliam literally had to personally retrieve his animation films used on the show from the trash.

BBC negligence notwithstanding, the show then soon became a success in America as it was re-

establishing itself with an international cult following, and the reunited Python team shifted

focus to the production of a motion picture.

The source material used for the Holy Grail is a reflection of the thorough, educated

approach of the Pythons, as well as of their affection for Arthurian and other legends of the

Middle Ages. For a comedy that is one of the silliest movies ever made, it is also extraordinarily

well researched, with a Pasolini-like pictorial flair for Medieval realism. This degree of

authenticity provided the foundation for their inimitable sense of absurd humor to flower as

only these comedians could, and it is now one of the most celebrated titles of any genre.

Directed by both Terrys (Gilliam and Jones) and funded by the likes of Led Zeppelin, Pink

Floyd, and Jethro Tull, this hilarious film continues to be endlessly quoted (or, parroted?)

inexhaustibly by its zealous fans - for over fifty years! But whether you’ve never seen it a

hundred times, once, or never, we assure you that this brilliant and outrageous picture will

have something special to offer you on 35MM.

Come and join in the adventure of Arthur, King of the Britons, and Sirs Bedivere,

Galahad, Lancelot, and Robin on their quest to find the Holy Grail. SEE why it makes Ben-Hur

look like an epic!

Our season RAGES ON this Monday, June 8 th , 2026 with the second of the four anamorphic

(widescreen) CinemaScope titles on this most eclectic schedule; a gorgeous original print of an

absolute classic, The Crying Game. Written and directed by Neil Jordan (Mona Lisa, et al) and

starring Stephen Rea, Jaye Davidson, Miranda Richardson and Forest Whitacker, it is still the

landmark drama it was when it premiered in 1992 and we couldn’t be more proud to bring it to

you – as we always are when fortunate enough to screen a 90s film.

The contemporary notion of the ‘spoiler’ is typically applied to big blockbusters, perhaps still

something precious for studios and investors to help ensure an audience will come and pay to

see whatever it is that might be compromised if revealed before a movie’s premiere. Though, it

might also be a matter of artistic integrity, and possibly surprising for some that this same

practice kept a tight lid on one of Jordan’s several plot twists in The Crying Game, even after its

debut, in the press and marketing surrounding the production.

We at the Motor City Cinema Society are also going to keep as much as we can private about

what happens in the story of this remarkable film, in the interest of honoring the work of the

cast and crew of The Crying Game. Come and see for yourself why a human story of this

magnitude might not otherwise be accurately conveyed- or worse- ruined, if artificially

attributed ‘shock’ value where it wasn’t intended.

What we can tell you is: this film features no less than three versions of the titular song,

including the original by vocalist Dave Berry, accompanied in that 1964 recording by both “Big

Jim” Sullivan and “Little Jim Pea” (Jimmy Page) on guitars, as well as one performed ‘live’ by

Davidson, and of course the Boy George reinvention produced by the Pet Shop Boys. The choice

to name the picture after this haunting composition is poetic, and much less literal than what

The Soldier’s Wife (its original title) would have evoked, providing a healthful dose of ambiguity

where it might otherwise have been typical.

But there is nothing common about the unique manner with which The Crying Game works as a

film and it is not surprising that it was lauded with many awards at the time of its release,

including an Oscar win for Jordan’s original script, and a Supporting Actor nomination for

Davison (the first for a Black British actor in the history of the Academy), sensationally marking

his debut performance (one of only four he has given). Curious as it might have been for

American audiences and critics to take to a film involving the perils of IRA terrorism, with

something perhaps lost in its trip overseas, but not when one considers its undeniable

humanity, resigning it to the backdrop of a rare love story.

It will all make sense when you come see this film, and know all there is to know about The

Crying Game.

We at the Motor City Cinema Society hope you all had a fine break and welcome you back this Monday where nothing will stop…

THE CRAWLING HAND!

It “demands to live!” At least, according to the trailer it does. On the subject, that sensational advertisement has been in the collection of one of our members a lot longer than this feature print. For nearly twenty years this classic “B” movie promo has occasionally delighted Detroit audiences on a notoriously fun reel of pre-film material which showcases the Official Films short Alligator Thrills and a number of other terrific trailers including the kindred co-production of The Slime People (1963). Incidentally, both are narrated by the same actor and both will play before the main attraction this Monday!

The Crawling Hand was also, of course, one of Mystery Science Theater 3000’s earlier episode features; a Season 2 gem from 1989. In our line of work, MST3K comes up regularly. This is so because the films they’ve watched, which number well into many hundreds (if not, thousands by now), were introduced and/or reintroduced to millions of viewers on their show, brought out of “cheesy” obscurity long before we had the honor of bringing such titles to you. And many people have only ever seen certain MST3K films with the show’s casts - by choice if the film hurt deep enough to not dare another viewing ‘alone’, as it were.

But this certainly isn’t a ‘Manos’ type situation. It’s really a delightful example of a film that simply cannot be made today without the unfortunate and ironic curse of self-aware ‘winking’ at the audience. It’s not a throwback; it is, authentically, what later campy films channel and throw back to. Its ‘flaws’ (no offense to the script co-written by Joseph Cranston, Bryan Cranston’s father) are as honest as its ‘ambition’. 

While it might reek of Brylcreem from its stable of supporting actors like Alan “Skipper” Hale Jr. and Kent Taylor (whose oeuvre features an amazing streak with Al Adamson) in a cast that almost had Burt Reynolds (he was busy pretending to be Brando on The Twilight Zone that same year, anyhow), this is nevertheless a beautiful black & white photochemical print. It is definitely what it known as an original (generally defined as made from a 35mm negative). Prints such as this can help demonstrate just how well a 16mm print can retain the sophisticated appearance that is truthful to the look of 35 if made correctly from strong source material. 

You’ll see why many instances of talking heads and other connecting tissue linking scenes of a disembodied hand terrorizing a small town might stand on their own as gorgeous images from a bygone era, as you’ll just as well hear its crisp soundtrack bring those scenes to life with not only sound, but music! In addition to the film’s score, The Crawling Hand features (just as in the trailer) The Rivingtons’ hit The Bird’s The Word, before it was later imitated by The Trashmen with Surfin’ Bird.   

See You Reel Soon!

Our season continues this Monday May 18th, 2026 with the daringly emotional film Nanami:

First Love (1968). This nearly 60-year-old feature was made by Susumu Hani, a Tokyo-born

director who stopped making films over 40 years ago, but is still living - at a remarkable 97 years

of age. Also known as Nanami: The Inferno of First Love, it is our first time showing a Japanese

language film and one of the absolute rarest titles we’ve ever had the honor to show you.

In 2021, this film was screened at the Japanese Avant Garde and Experimental Film Festival in

London, England (for the first time there since its original release in the late 60s). A quote from

one of its hosts may help explain just how rare a viewing of this movie is:“...the 16mm print you’re about to watch comes from [the Japanese Foundation’s] Tokyo archive.

It is, to our knowledge, the only English-subtitled print that is uncut in existence”.

While it is most likely that there are more than one, no one actually can say with certainty

whether that’s a true statement or even if, since ours is uncut, this is the same exact print which

played at the JAEFF that has somehow made its way to us for this screening. It really is a

mystery, like other things about Nanami, like: why is the title abbreviated on our print (and was

that also the case at its London screening)? When, if ever, has this film been shown publicly in

the U.S. before now?

Such questions surrounding the history and proliferation of some of the fine films we show our

audiences is becoming more and more our primary focus as we research and preserve the

precious prints we work with. But we invite you to abandon these concerns, at least for the

duration of the film, and also to let go of any preconceived ideas about the ‘risqué’

connotations of the X rating, in order to appreciate the unique cinematic voice of Susumu Hani.

Like so many filmmakers as-yet and to-be rediscovered, his inclusion into canon helps to better

define the term ‘world cinema’ as it continues to broaden with discoveries such as this.

Nanami is a sophisticated and refined work which in its simplest sense is just a tragic love story -

between young Shun and the titular Nanami - but its flair is in its unconfined depictions of

sexuality, humanity, and trauma, captured marvelously by superbly honest characterizations

and a photographic style that is often atmospheric and dreamy as well as plainly direct and

documentary-like, featuring many virtuosic sections of photomontage and other techniques.

We are proud to present this treasure of a film with a gorgeous original print that you’ll

remember for a very long time.

The Motor City Cinema Society welcomes you to the most baffo season we’ve ever presented, starting at 7pm this Monday May 5th, 2026. 

Our first film is something we love to try and show as often as possible these days- a sequel! Batman Returns (1992, starring Michael Keaton, Michelle Pfeiffer, Danny DeVito and Christopher Walken) - Tim Burton’s spectacular follow-up to his tremendously successful Batman (1989). This time TWO of the most notorious of Rogues’ Gallery villains threaten Gotham City and challenge the Caped Crusader like never before. Catwoman and The Penguin (formerly Selena Kyle and Oswald Cobblepot, respectively), with the help of corrupt profiteer Max Schrek, unleash a destructive and poisonous combination of terrorism and demagogic politics as they vie for power. 

Keaton is, of course, the only starring member of the cast to return to this franchise, and DeVito always seemingly had it in-the-bag, first hearing about ‘having’ the role while shooting The War of the Roses (1989). But how Pfeiffer became Catwoman was quite a different type of situation. Annette Bening first was given the part, but had to bow out due to becoming pregnant (with husband Warren Beatty’s child). Then, after several, perhaps extreme, attempts by Sean Young to win the part (including appeals before television cameras and sneaking into studio offices) while given the opportunity to audition was instead declined in favor of Pfeiffer. 

Batman Returns is Burton’s last hurrah with the Dark Knight mythos, going out in an over-the-top ‘Richard III’ fashion, according to DeVito’s own description of the size of his character’s portrayal. But then, Joel Schumacher soon took on the mantle of the Gotham he started, even retaining regulars Michael Gough (Alfred Pennyworth) and Pat Hingle (Commissioner Gordon) in an otherwise very much different direction with Batman Forever (1995) and Batman and Robin (1997). 

Join us as we screen a very beautiful and crispy print of this comic book classic! It will look, sound and ‘feel’ just like a viewing in a neighborhood theater of it did back in ’92.