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Drucker wrote:Metrograph's whole thing is attempting to be more than just a movie theater, though. There's a bookstore, restaurant, bar...and it's certainly trying to be "hip" but it does it well. They are the only place that has their food options/specialty candies. I feel like every criticism I read of Metrograph just hates because it's different (I had a friend who complained about the people wearing suits as uniforms).

Hah, I actually like the uniforms! It's a nice update to what you'd expect in a classic movie palace, but without the actual palace (no way that can work with today's NY real estate market). I just wish they put up some acoustic panels on the brick walls. Drapes may even be enough.

It may just be because you said something, but I noticed some cover over the brick walls when I was there last weekend. Let me know next time you go if that seems like some sort of substitute for paneling?

Good! Hope it is.

Drucker wrote:The leg room is easily twice as generous as Film Forum.

Which is to say, I can narrowly fit my entire leg in, instead of having to fold up like an accordian.

matrixschmatrix wrote:..their seats to a 4 out of 10 on the comfort scale (putting them approximately 3 higher than Film Forum)

To think the first Film Forum had folding chairs.

matrixschmatrix wrote:

Drucker wrote:The leg room is easily twice as generous as Film Forum.

Which is to say, I can narrowly fit my entire leg in, instead of having to fold up like an accordian.

The front row of the Walter Reade's stadium seating will always be my favorite spot for this reason.

As a 6'7" New Yorker, I'm all ears for recommendations as to who gives good seat.

Of the theaters that show old movies, I've been most comfortable at the Nighthawk and the BAM, though only Film Forum really sticks out as being the absolute pits. i have a messed up right knee, and keeping it folded tight for more than an hour or so becomes debilitating- at most theaters it's fine, as you can maneuver around a little and get some leg extension. At the Film Forum, I saw a double feature of Godfather I and II, and nearly lost the ability to walk.

teddyleevin wrote:As a 6'7" New Yorker, I'm all ears for recommendations as to who gives good seat.

I hope whichever seat you pick is in the back row!

teddyleevin wrote:As a 6'7" New Yorker, I'm all ears for recommendations as to who gives good seat.

I'm 6'4" and have always found the Elinor Bunin at Lincoln Center to have comfortable seats and plenty of legroom (and a good cafe up front).

New Quad=DISASTER. As DT once said, SAD.

J Adams wrote:New Quad=DISASTER. As DT once said, SAD.

How so?

J Adams wrote:New Quad=DISASTER. As DT once said, SAD.

You can't just leave this without an explanation.

J Adams wrote:New Quad=DISASTER. As DT once said, SAD.

Is that you, Barmy?

My God, we were so focused on Nothing being Thomas Clay that we ignored the obvious signs of Barmy being Trump!

I have been in touch with Quad programmers and they have been extremely responsive.

The main problem, which is insurmountable, is the low ceilings and small screen size. The only other theatre I can think of with this small of a screen size is the dreaded IFC Theatres 4 and 5. But this came as no surprise to me. They stuck with the same space so they are stuck with low ceilings and therefore stuck with small screen size. I didn't complain about that because it was what it was and is what it is.

Their April calendar is awesome. A good Lina Wertmuller retro (haven't seen any of her films in ages) plus a ton of other good stuff on their one dedicated repertory screen.

The repertory is a mix of 35mm and 2K DCP. As a quasi-rule, I don't go out to see older films in DCP unless they are 4K, which as of now is not common.

Of the two 35mms I did see over the weekend, one (The Gangs All Here) was initially projected at 1.66 even though any idiot should know it is 1.33. They fixed that after about 5-10 minutes. Too long in my book, as it was announced that the owner of the print was in the audience. He should have sprinted out immediately and fixed this. The other 35mm, Wertmuller's Blood Feud, was stopped several times for unknown reasons. Then, during the short credit crawl at the end, I guess the projectionist had better things to do so s/he turned the lights on and then just turned the film off.

There are other problems that may resolve over time. Confusing lines for films where no one seems to know what they are in line for, multiple checks for your ticket, etc.

Fundamentally, I think, at least for April, they've got the best retro programming in NYC. But subtract from that the high percentage of DCPs and the tiny screen, and this becomes a cinema of last resort for me.

Oh, and, as before, the venue attracts a high volume of senior citizens who seem generally confused about virtually everything. At this point the 60+ crowd f*cked their way through the 60s but now don't even know how to deal with subtitles and seem utterly clueless. SAD!

Who is this Barmy freak? Is he a contrarian? BAN HIM!

Ha. Is the exit sign still directly under the screen, like an immutable, dread-inducing red subtitle?

A few of the Wertmullers are still quite rare so I hope they at least train the projectionists to run the end credits before I venture out next week. I guess a senior citizen die-off is too much to hope for.

The repertory screen has the brightest EXIT sign in Christendom. It actually illuminates nighttime scenes. It's like Mars suddenly traveled to a position adjacent to the Moon. But at least it's off to the side. I haven't been to the other 3 theaters but none of them have programming that I care about.

I urge NYers to give it a try. Who else would open their repertory with Wertmuller, who I think is overrated, but still absurdly neglected. But, yes, you will need to cope with 60- or 70-somethings cackling at rape and murder and whatever, just because it's a bit askew as compared to The Sopranos or whatever. Or vocally complaining when a few lines of dialogue aren't subtitled. Leaving aside my other issues with the Quad, if, as before, it becomes a senior citizens home, I'm done with it. Until I'm in that home.

J Adams wrote: Wertmuller, who I think is overrated, but still absurdly neglected

Impressive needle-threading.

J Adams wrote:Until I'm in that home.

The best line of the post.

They've improved. The rep theatre is actually worse than at least one of the "new film" theaters they have. Oh and the more I revisit Wertmuller the more I understand why she has been completely forgotten. Enjoy her stuff but sooo dated and stereotypical. Wacky and zany, yes. Substance? No.

I have to admit I've enjoyed J's posts and his observations about the Quad aren't wrong. A lot of them apply to Film Forum & FSLC as well.

FFs rep screens are so small and their narrow theatres so long (complete tunnel-vision) that it sometimes doesn't even feel like a real theatrical experience. Plus, a few blue dots on the screen (always in the same lace) during DCP screenings; look like dead pixels on a TV. Is that a thing?

The Quad is continually improving. Whether due to my complaint or otherwise, they no longer turn on the bright lights the minute the credits come on. I have only been in 2 of the 4 theaters. The repertory theatre is not as good as the other theatre I've been in. And, regarding 35mm, they STILL need to find projectionists that can handle that. But it's getting better. I was advised as to why their projectionists are problematic, but don't feel like sharing that info. But with time they will learn.

I rarely go to Film Forum unless they are showing 35mms, of which, unusually, they have quite a lot coming up. Their projectionists are better. My main objection to FF is their utterly tedious, unimaginative retro calendar. Oh, a new sterile and fuzzy DCP of some old French film is showing for 2 weeks!!! No thanks. You're showing New York films from the 70s that everyone has already seen!!! How DARING! The Quad's retro calendar, at least for now, is excellent.

In their defense, Film Forum was one of the last hold outs against DCP's, but once studios started distributing a large number of titles only as DCP's, it was over. Almost any restoration hitting theaters now will be a DCP (hence Army of Shadows et al being DCP's).

I do like it when programmers at repertory theaters say something about the print before a screening, but nowadays, if they do say something it's about how tough it was to get a 35mm print (e.g. Bring Me the Head of Alfredo Garcia). If someplace only has a 2k DCP, honestly I'd rather stay home and watch a Blu-Ray.