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      ‘Rust’ Production Appeals Fine for Cinematographer’s Death

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      The company, which was fined the maximum penalty allowed under state law, maintained that it did not violate safety protocols.The production company behind the movie “Rust” on Monday contested a fine issued by New Mexico state regulators, who cited the production for “plain indifference to the recognized hazards associated with the use of firearms on set” that resulted in the shooting death of the film’s cinematographer, Halyna Hutchins.The company, Rust Movie Productions, LLC, said in a filing Monday that it “did not ‘willfully’ violate any safety protocol, and in fact enforced all applicable safety protocols.” The producers also denied that the film’s armorer, who was in charge of weapons, had been overburdened with other duties, as her lawyers have claimed.Last month, the state fined the production company the maximum penalty allowed — $136,793 — asserting that the company had demonstrated indifference to firearm safety hazards. In a report, the Occupational Health & Safety Bureau of the New Mexico Environment Department said the production had not properly responded when there were two improper weapons discharges on set involving blank rounds, and that the production did not properly hold safety meetings or distribute safety bulletins.In a filing to the agency, lawyers for the production company wrote that the discharges had been “properly addressed,” including with safety briefings for the cast and crew, and said that none of the discharges involved violations of firearm safety protocols. Assistant directors for “Rust” were told to hold safety meetings on the days in which firearms would be used, the filing said.“In fact, a safety meeting was held the morning of the incident,” it said.On Oct. 21, the actor Alec Baldwin was practicing with an old-fashioned revolver he had been told did not contain live ammunition when the gun discharged a bullet that killed Ms. Hutchins and injured Joel Souza, the movie’s director. Mr. Baldwin has sought protection from financial responsibility in the legal disputes arising from the incident.In its report, the New Mexico agency also faulted the production for “failing to ensure that the handling of deadly weapons was afforded the time and effort needed to keep the cast and crew safe,” citing claims from the movie’s armorer, Hannah Gutierrez-Reed, that her extra duties as a props assistant sometimes took her away from her job overseeing the firearms on set. The agency also said the production did not give its staff enough time to inspect ammunition to make sure that no live rounds were present.The production company denied that Ms. Gutierrez-Reed was overburdened, writing that her armorer duties “always took precedence” over her prop duties and that she was given sufficient time to inspect the ammunition, according to their filing. More

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      In Comedy, Timing Is Everything, Especially at Netflix’s Festival

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      Planned long before the streamer hit a rough patch, the expansive event had the feel of the end of an era. Still, there were plenty of stellar shows.LOS ANGELES — Over the past two weeks, in a shock-and-awe display of cultural power that suddenly seems from a bygone era, Netflix put on a behemoth festival that summoned all corners of the comedy world. Take Saturday evening, for instance. Amy Poehler and Tina Fey cracked jokes at the YouTube Theater while Billy Eichner hosted an evening of LGBTQ+ stand-ups at the Greek Theater that included, among others, Wanda Sykes and Tig Notaro. Tim Heidecker chatted with comics at the Elysian Theater, a savvy new alternative space, while Mitra Jouhari from Adult Swim’s “Three Busy Debras” prepared to go onstage. Two miles away, Gabriel Iglesias was getting ready to be the first stand-up to ever perform at Dodger Stadium.The inaugural Netflix Is a Joke Fest which was cooked up before the pandemic and then postponed, rivaled if not eclipsed Just for Laughs, the mammoth industry event in Montreal. Producing 298 shows in dozens of spaces throughout Los Angeles, this ambitious effort took place in an awkwardly humbling moment for the streaming giant, after a quarter when it reported losing subscribers for the first time in a decade and its valuation dropped more than a third. There were layoffs, talk of price increases and the once unthinkable, adding digital ads.The physical kind blanketed the city, including a seven-story sign overlooking Hollywood Boulevard that commanded: “Please Laugh Responsibly.” This is the sort of corporate humor that uses jokey irony to disguise a commercial purpose, but there was something especially incongruous about the swagger of these promotions. To trumpet, in another sign, “the biggest comedy event in history” (with an asterisk and the joke “probably”) while employees anxiously whispered about the company’s future gave the festival a certain “last days of the Roman Empire” vibe.Ads for the festival blanketed Los Angeles. Allison Zaucha for The New York TimesMy week at the festival, seeing two shows a night, was a reminder that comics thrive in such environments. “Anyone hear an earthquake or a tremor?” David Letterman quipped at his live talk show, held at the festival with only stand-ups as guests. (They performed short sets and also sat down to chat.) With his old pinpoint timing, he waited a beat before quipping: “Must have been the Netflix stock crashing.”Anthony Jeselnik told the crowd at his show he loved that Netflix started the festivities by “laying off half their marketing team, losing a billion dollars and then trying to kill Dave Chappelle” — a reference to an audience member’s attack on Chappelle earlier in the festival. Known for taut jokes, Jeselnik leaned more into storytelling while sticking to his commitment to navigating hot button subjects in sharp-edged punch lines, starting with material on the trans community that aims to be both transgressive and progressive. The rap against Jeselnik is that his use of misdirection can be formulaic, like a math problem, but this show was advanced calculus, an implicit rebuke to comedians relying on lazy jokes about marginalized groups. He said he had writer’s block over the pandemic so he set himself goals to escape it. “I wanted to not aim too high,” he said at a leisurely pace: “Set something easy: try to handle this better than John Mulaney.”Those expecting Mulaney, who performed at the Forum, to dig deep into the relationship drama that has made him a tabloid staple would be disappointed. He is touring with an hour of material that is the most anticipated of the year, and it lives up to the hype. (No news on when it will become a special.) When I first saw him do the same material at City Winery one year ago, his discussion of addiction and rehab was raw and messy and bleak. It has tightened into a polished showbiz machine, with his broadest act-outs, impressions and even an extended song and dance. (The suggestion of a suicidal tendency is gone.) His show is less a baring of the soul than a joke-dense and pointed scuffing up of his image. Its key line: “Likability is a jail.”If so, Meg Stalter might be its current warden, since her videos during the pandemic turned her into an unlikely star with a devoted community of fans who delighted in her collection of flamboyantly overwrought characters. How this success will translate to her live comedy is an open question. In a hectic, digressive performance to a sold-out audience, she left her characters behind and stuck to one self-dramatizing, often flailing star whose biggest laughs were less the product of bits than interactions with the crowd.While there were several star-driven shows, the festival was anchored by many showcases of short sets, often hosted by big names like Lily Tomlin and Jane Fonda. They introduced a stellar lineup of mostly women comics, including Cristela Alonzo and Michelle Buteau (who both told quarantine jokes). In between acts, Fonda and Tomlin bantered, comparing notes on who had been arrested more. When Margaret Cho came onstage, a few days after the leak of the Supreme Court abortion opinion, she told the hosts, “I look forward to getting arrested with you after the repeal of Roe v. Wade.”Lily Tomlin and Jane Fonda were hosts of one show featuring mainly women comics.Elizabeth Morris/Netflix The biggest show by far was Iglesias’s at Dodger Stadium, a stand-up set that seemed to double as a celebration of its own feat, even though seeing comedy in a ballpark is not ideal. When Martin Moreno asked the crowd to not look at screens before introducing him, most of the audience, myself included, was watching him on a giant screen.But many of the funniest, most satisfying performances took place in small rooms, none more so than the one by Liza Treyger, whose act has become a Richard-Lewis-level opera of neurotic self-deprecation. What she called her “monologue of bad habits” is a rapid-fire series of beyond-jaded jokes at her own expense that often take the form of exasperated questions: “Do you ever watch a video on Instagram and tell your friends you watched a documentary?” she said. “Do you run late on purpose just to feel something?”For comedy nerds, it was also a pleasure to see Marsha Warfield, a former star of the sitcom “Night Court” and a figure from the 1970s Comedy Store scene whose legendary reputation rarely translates into high-profile shows. In a confidently moseying delivery, she talked about falling out of the public eye and coming out of the closet on Facebook, then defensively insisted that’s just where old people are. “Facebook is the 21st-century version of sitting in an open window and yelling at people,” she said.Of course such intimate live shows are not what created the most news. That would be Pete Davidson returning to stand-up (“In the last couple years, I’ve been onstage less than the babies inside of Ali Wong,” he said, a solid inside baseball quip) and cracking jokes about Kanye West. There was also the attack on Chappelle which added an element of tension to the entire festival. Beefy security guys were quick to clamp down on hecklers. I saw two people wrestled to the ground and dragged out of a theater before a Snoop Dogg-hosted show; another person was forcibly ejected after heckling Letterman. Many comics seemed jittery and ready to battle. When Mike Epps, dressed in a black leather suit, walked onstage shadow boxing, everyone got the joke. This was funny, but that this celebration of jokes sat alongside the new alertness to security added yet another irony to this festival.Pete Davidson made headlines for his return to stand-up (and for jokes about Kanye West).Ser Baffo/Netflix Comics were sympathetic to Chappelle, but the backlash toward his jokes about the trans community started make its way into sets. After saying that people have been asking her about the assault, Robin Tran, a trans comic who was headlining a show, quipped: “I just want to say, for the record, I only told him to scare Chappelle.” At a different show, another trans comic, Nori Reed, did a very funny, experimental set that postponed telling a conventional punchline for a few minutes, then calling it inspired by Chappelle: “No jokes, all vibes.”One of the strengths and perhaps vulnerabilities of Netflix, the festival and service, is its range. The streamer’s comedy taste has always been difficult to pin down. Its brand is big. I interviewed the heads of Netflix comedy in 2018, around the height of their power, though competition from rival services like Apple TV+ and Disney+ loomed. Asked if they could continue to draw the most famous names with big money, Lisa Nishimura, the vice president of independent and documentary film content, said: “If we continue to grow the audience, we’re OK.”Now that the audience has shrunk, what does that mean? Will the number of Netflix comedy specials dwindle? Will competitors fill the space? HBO has been putting out quality shows and found a discourse-dominating hit with Jerrod Carmichael’s “Rothaniel.” (That special was directed by Bo Burnham, whose “Inside” is one of the most impressive success stories for Netflix of the past few years.)In a Sunset Boulevard coffee shop, just a few blocks from the hotel where club owners and comics stayed and you could see unnerving sights like late-night Comedy Cellar staple Dave Attell bathed in Hollywood daylight, I met with Robbie Praw, the director of original standup at Netflix. He looked weary managing this behemoth. Asked if financial troubles will change Netflix’s commitment to comedy, he said no but conceded that when it came to the number of specials, there would be “a little more curation.”It was a cautious, careful answer, one that reflected the moment more than any joke, billboard or festival did that week. More

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      Ric Parnell, Real Drummer in a Famous Fake Band, Dies at 70

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      The central characters in the mockumentary “This Is Spinal Tap” were comic actors, but Mr. Parnell was an actual professional musician.Ric Parnell, a real drummer best known for playing in a fake band, the one chronicled in Rob Reiner’s fabled 1984 mockumentary, “This Is Spinal Tap,” died on May 1 in Missoula, Mont., where he had lived for some two decades. He was 70.His partner, McKenzie Sweeney, confirmed the death. She said a blood clot in his lungs led to organ failure.Mr. Parnell had been in several bands, including the British prog-rock outfit Atomic Rooster, when he auditioned for “This Is Spinal Tap,” a deadpan sendup of rock clichés, and got the role of the drummer, Mick Shrimpton. The central band members, though, weren’t primarily musicians, though they had musical ability; they were comic actors — Michael McKean, Christopher Guest and Harry Shearer. Mr. Reiner played the role of Marty DiBergi, a documentarian recording what turns out to be a disastrous tour by Spinal Tap, a heavy metal band that is past its prime and poorly managed.Mr. McKean said Mr. Parnell fit in seamlessly.“He looked perfect, all hair and cheekbones, but he also got the joke and knew to play the reality without comment,” he said by email. “And he was a great drummer in the tradition of his hero, John Bonham” — the drummer for Led Zeppelin.“Onstage,” Mr. McKean added, “he was the best kind of monster; offstage, a very nice, very funny guy.”Mr. Parnell had only a few lines in the movie, but he was pivotal to one of its funniest gags: Drummers for the band had a habit of dying in bizarre and unpleasant ways. In one scene, he lounges in a bathtub while Marty DiBergi asks him if he’s bothered by that history.“It did kind of freak me out a bit, but it can’t always happen,” Mick says, and Marty agrees, telling him, “The law of averages says you will survive.”The law of averages, alas, was wrong — near the end of the film, Mick spontaneously combusts onstage. When the film developed such a cult following that the fake band went on tour in the early 1990s, playing actual shows, that necessitated a tweaking of Mr. Parnell’s persona — he was now Rick Shrimpton, the twin brother of the deceased Mick.Life almost imitated art in mid-1992, when Mr. Parnell fell down some stairs while hurrying to a sound check as the band was rehearsing in Los Angeles. He injured an ankle.“Despite the odds of meeting with death by remaining with Spinal Tap,” a publicist for the band said at the time, “he’s looking forward to continuing the tour.”That “Return of Spinal Tap” tour eventually took the group to the Royal Albert Hall in London, a pinch-me moment for the British-born Mr. Parnell as he waited to go on alongside Mr. Shearer.“I remember during ‘The Return of Spinal Tap’ standing backstage with Harry and hearing the Albert Hall crowd just chanting, ‘Tap!’ ‘Tap!’ ‘Tap!’ ‘Tap!,’” Mr. Parnell told The Missoula Independent in 2006. “I turned to Harry and I said, ‘Come on, now. We’re a joke! Don’t they know that?’ It was just amazing how quite massive it all became.”The members of Spinal Tap, from left: Christopher Guest, Mr. Parnell, David Kaff, Harry Shearer and Michael McKean.Aaron Rapoport/Corbis/Getty ImagesAbout two decades ago, Mr. Parnell settled into a much quieter sort of life in Missoula, where for a time he had a radio show called “Spontaneous Combustion” on KDTR-FM, on which he told stories and indulged his eclectic musical tastes. For one show he played only artists who were alumni of Antelope Valley High School in California, among them Frank Zappa and Captain Beefheart.“I get to play what I want, do whatever I want — all as long as I don’t swear,” he told The Independent. “That’s the only hard part.”Richard John Parnell was born on Aug. 13, 1951, in London to Jack and Monique (Bonneau) Parnell. His father was a composer, conductor and drummer, and he said that drumming came naturally from a young age.“I got it from my dad,” he told The Missoulian in 2007. “I could sit down at the drum kit and play a beat straight away.”Lessons, he said, were not his thing; he learned by playing in groups.“Over the years, I’ve built up a technique,” he told the newspaper. “I get drummers saying, ‘How did you do that?’ I say, ‘I have no idea. I’m just hitting.’ I wouldn’t know a paradiddle from a flam-doodlehead.”His father, who worked as musical director or in other capacities on numerous television shows, sometimes added to his education by taking him to the set. He recalled sitting at the feet of Jimi Hendrix when he performed on the singer Dusty Springfield’s British TV series in 1968.Mr. Parnell’s own career was starting about the same time. He recalled touring with Engelbert Humperdinck as a teenager. He joined Atomic Rooster in 1970, and then came a stint with an Italian group, Ibis. In 1977 he moved to the United States with a band called Nova, which settled in Boulder, Colo.He played numerous studio sessions over the years and can be heard on records by Beck, Toni Basil and others. For a time he toured with the R&B saxophonist Joe Houston. They would stop every year for a few shows in Missoula before heading into Canada to tour there. But, as Mr. Parnell often told the story, one year the group didn’t have the right paperwork to cross the border and had to extend its stay in Missoula.“I basically got stuck here and then didn’t want to leave,” he told The Independent. “I’d always liked this place — it’s like Boulder in the 1970s, when I first came to the states. I became a Missoulian instantly.”Mr. Parnell was married and divorced four times. In addition to Ms. Sweeney, he is survived by two brothers, Will and Marc, and two stepsisters, Emma Parnell and Sarah Currie.Over the last two decades he could often be found playing with one group or another at local spots in Missoula. In 2004, a writer for The Missoulian asked if he, as an accomplished musician, ever got tired of being recognized only for his joke band.“No, not really,” he said. “Really it’s quite nice to be a part of such a legendary thing.” More

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      ‘The Takedown’ Review: Mismatched Detectives on the Case

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      This film from Louis Leterrier tries to pay tribute to classic 1980s buddy-cop movies, but not even Omar Sy can’t salvage it.Ousmane Diakité and François Monge may be French, but they will be instantly familiar to American audiences: mismatched detectives thrown together by a case, they bicker all the time, only to eventually grudgingly broker a truce. They complement each other, you see.As you might have guessed, “The Takedown” is a Gallic spin on buddy-cop movies, especially those from the 1980s and ’90s. Unfortunately much of the humor, which includes several moldy gay-panic jokes, belongs to that era, too. Imagine, our two heroes must share a bed after a hotel runs out of rooms — the horror!A sequel to the marginally superior “On the Other Side of the Tracks,” from 2012, “The Takedown” finds the shrewd, hotheaded Ousmane (the “Lupin” star Omar Sy) and the idiotic, arrogant François (Laurent Lafitte, “Elle”) investigating a small mountain town crawling with white-supremacist thugs hopped up on potent meth — and the local authorities, which belong to a far-right party not unlike Marine Le Pen’s, more than tolerate them. At least a local policewoman (Izïa Higelin) appears keen to help our odd couple.The project must have felt like a gimme for both Sy, whose easygoing charm helped turn “Lupin” into a global hit, and Louis Leterrier, who made his mark directing the excellent first two “Transporter” movies as well as the best “Lupin” episodes. But even the sight of the two frenemies wiping out racist goons is not enough to make up for the desperately frantic action scenes (hope you like interminable car chases), joyless jokes and hackneyed clichés.The TakedownNot rated. In French, with subtitles. Running time: 1 hour 59 minutes. Watch on Netflix. More

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      ‘Along for the Ride’ Review: Becoming a Kid Again

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      A Netflix adaptation turns a best-selling novel by Sarah Dessen about a perfectionist teenage girl into a slick and breezy, Instagram-friendly story.Teenage girls have been gobbling up Sarah Dessen’s books for years, so fans are no doubt breathlessly awaiting a Netflix adaptation of “Along for the Ride,” her best-selling 2009 novel. Unfortunately for them, the movie is lacking much of Dessen’s trademark depth.The story follows Auden West (Emma Pasarow), a studious introvert whose divorced, academic parents (played by Dermot Mulroney and Andie MacDowell) raised her like a small adult, scorning childhood frivolity.As she spends the summer before college with her father, stepmother (Kate Bosworth) and newborn half sister, some unexpected new friends teach Auden the value of fun. Chief among them is Eli (Belmont Cameli), a boy who works at the local bike shop and, like Auden, has a troubled past and a penchant for staying up all night.This film, written and directed by the “To All the Boys I’ve Loved Before” screenwriter Sofia Alvarez, has the same basic plot as Dessen’s book, plus some injections of teenage indie appeal like Luca Del Puppo’s warmly lit cinematography, several Vans product placements and music by Beach House. But such a breezy, Instagram-friendly adaptation feels like a betrayal to Dessen’s original, neurotic protagonist, who has a more difficult journey from self-induced solitude to romance. Where book-Auden avoided friendship, femininity and emotion with frustrating frequency because of her restrictive upbringing, movie-Auden is basically a chill girl with a smidgen of baggage.The other characters — especially Auden’s parents — are similarly underwritten, so the film is left grasping for conflict or clear stakes. Dessen’s novel offered a main character paralyzed by perfectionism. This film makes her ironically, boringly, perfect.Along for the RideNot rated. Running time: 1 hour 46 minutes. Watch on Netflix. More

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      Amber Heard Accuses ‘Belligerent’ Johnny Depp of Sexual Assault

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      With graphic depictions of what she described as physical attacks, she sought to counter the actor’s testimony that she had been the aggressor.Amber Heard described in graphic detail on Thursday how, she said, her ex-husband, Johnny Depp, beat and sexually assaulted her during a trip to Australia, during which she experienced the worst fear of her life.Ms. Heard, testifying in the defamation case filed against her by Mr. Depp, said the couple took the trip in 2015, shortly after they were married, because the actor was needed for the filming of the fifth “Pirates of the Caribbean” movie. But, while there, Mr. Depp took MDMA, became “belligerent” and attacked her, hitting her in the face, throwing her across the room, ripping off her nightgown and grabbing her by the neck, she said.“I’m looking in his eyes and I don’t see him anymore,” Ms. Heard, who sometimes broke into sobs during her testimony, said. “I’ve never been so scared in my life.”Ms. Heard described the encounter during her second day of testimony in Fairfax County Circuit Court, where she and Mr. Depp are locked in a tense legal battle over just who defamed whom. In his own testimony, Mr. Depp denied hitting Ms. Heard and denied sexually assaulting her, accusing her of being the aggressor in the relationship.The incident in Australia has emerged as a key point of contention in a trial that has focused on competing, and contradictory, accusations of spousal abuse. At some point during the confrontation Ms. Heard described, part of the middle finger on Mr. Depp’s right hand had been severed, but the couple has presented differing accounts of how it actually happened and who was to blame.Ms. Heard, 36, said Mr. Depp, 58, was angry about several issues, including his suspicion that she had been having an affair with another actor and his contention that she had been unkind to his sister. She said his attack escalated from vulgar name-calling to threats and violence. In an argument over his drinking, she said, she had thrown a liquor bottle on the ground.“That really set him off,” she said.Ms. Heard testified that during the fight, Mr. Depp threw bottles at her, missing, and that later he sexually assaulted her with a bottle. She said that, though she could not see the bottle at the time, she was later able to deduce what the object had been.According to Ms. Heard’s account, Mr. Depp severed his finger when he picked up a phone from the wall and smashed it into pieces. She said that after the attack she returned to that area of the house and found messages written on the walls and objects in the room, in blood and paint.During his testimony earlier in the trial, Mr. Depp said his finger had been severed when Ms. Heard threw a handle of vodka at him that had shattered on his hand. He said she had been upset about a meeting she had with a lawyer over a potential postnuptial agreement, and described her following him around the house, screaming obscenities and “hammering me with brutal words.” He testified that when she discovered him drinking, she hurled a bottle of vodka at him, which missed, and then another, which made contact.As his hand bled “like Vesuvius,” Mr. Depp testified, he experienced a “nervous breakdown” and used his bloody finger to write on the walls messages that “represented lies that she told me.”Mr. Depp’s lawsuit seeks $50 million in damages and cites what it describes as damage done to his reputation and career by an op-ed piece written by Ms. Heard.Pool photo by Jim Lo ScalzoDuring her first day of testimony on Wednesday, Ms. Heard testified that Mr. Depp physically abused her throughout their relationship, recalling that his anger was triggered by suspicions she was being unfaithful, which would not abate despite her repeated denials.In his testimony, Mr. Depp had denied ever hitting Ms. Heard and accused her of being the person who resorted to violence by punching him, throwing objects at him and, once, kicking a bathroom door into his head. In court papers, Ms. Heard denied hitting Mr. Depp except in self-defense or in defense of her sister.Johnny Depp’s Libel Case Against Amber HeardCard 1 of 6In the courtroom. More

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      ‘Fatal Attraction’ and the Disappearance of Erotic Thrillers

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      Elyssa Dudley and Listen and follow Still ProcessingApple Podcasts | Spotify | Stitcher | Amazon Music“Fatal Attraction” came out when Wesley Morris was 11, and it’s made a permanent impression on the way he thinks about certain aspects of lust and suspense. “There’s a lot wrong with this movie, and yet — and yet! — it’s such a good movie,” he said. Wesley invited Parul Sehgal, a staff writer at The New Yorker, to discuss the movie, starring Glenn Close and Michael Douglas.Both Wesley and Parul watched “Fatal Attraction” over and over as preteens, and they’ve rewatched it multiple times since. “Every time I see this movie, I identify with a different character,” Parul said. “I have a different sense of what this movie is about.”As Wesley and Parul break down the most powerful scenes, they are reminded of the loss of high-stakes sex onscreen today. They discuss why the erotic thriller genre has disappeared — and what they could gain from seeing more genuine, grown-up sex in movies.Michael Douglas and Glenn Close star in “Fatal Attraction,” directed by Adrian Lyne.Ullstein Bild via Getty ImagesHosted by: Wesley Morris and Jenna WorthamProduced by: Elyssa Dudley and Hans BuetowEdited by: Sara Sarasohn and Sasha WeissEngineered by: Marion LozanoExecutive Producer, Shows: Wendy Dorr More

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      New York’s Movie Theaters, From Art-House to Dine-In

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      New York is the nation’s moviegoing capital, especially for cinephiles who treasure archival prints, experimental cinema and concession stands that go far beyond the standard offerings. Below is a guide to the city’s art houses.Alamo DrafthouseFinancial District, 28 Liberty Street, Suite SC301, Manhattan. Downtown Brooklyn, 445 Albee Square West, Brooklyn. drafthouse.com.This dine-in chain, based in Austin, Texas, has a hip aesthetic and is noted for its brews, queso and screenings of cult classics, in addition to regular showings of new releases. A revived version of Kim’s Video has set up shop within the Manhattan location. A Staten Island theater is scheduled to open this summer.Angelika Film CenterAngelika Film Center, 18 West Houston Street, Manhattan. Cinema 123 by Angelika, 1001 Third Avenue, Manhattan. Village East by Angelika, 181-189 Second Avenue, Manhattan. angelikafilmcenter.com.The original Angelika Film Center is the downtown six-screen theater where you can catch art-house releases, like “Petite Maman” or “Anaïs in Love,” while the subway rattles underneath. The brand name has also been appended to the Village East, whose main auditorium is a gorgeous old Yiddish stage theater. In addition to showing new releases, it hosts “The Rocky Horror Picture Show” and periodic revival screenings, and like its uptown sibling, the Cinema 123, it is equipped to show 70-millimeter film.Anthology Film Archives32 Second Avenue, Manhattan; anthologyfilmarchives.org.New York’s polestar of avant-garde film (and the preservation of it) for more than 50 years, Anthology was started by some of experimental cinema’s most important promoters (Jonas Mekas, P. Adams Sitney) and practitioners (Stan Brakhage, Peter Kubelka). In addition to retrospectives, the theater hosts a rotating series, Essential Cinema, that is free with membership; programming includes seminal narrative works by Alexander Dovzhenko and F.W. Murnau and medium-expanding nonnarrative films from Ken Jacobs and Michael Snow.Brooklyn Academy of Music30 Lafayette Avenue, Brooklyn; bam.org.At any given time in the main BAM building in Fort Greene, three out of four screens show new releases, while one holds retrospectives, such as ones on films shot in New York City in the 1990s or others that place David Lynch’s work alongside movies he influenced. Occasional screenings take place at the BAM Harvey Theater a few blocks away.Film at Lincoln CenterElinor Bunin Munroe Film Center, 144 West 65th Street, and Walter Reade Theater, 165 West 65th Street, Manhattan; filmlinc.org.Lincoln Center’s film arm, the hosting organization of the New York Film Festival, runs a year-round theater with one of the largest screens in town: the Walter Reade. There you can catch adventurous revivals, such as programs on the Hungarian director Marta Meszaros or the Japanese actress-director Kinuyo Tanaka, and contemporary series, like the annual Rendez-Vous With French Cinema. Across the street is the Elinor Bunin Munroe Film Center, which houses two screens and a food-and-wine bar, Indie.Film Forum: Come for the popcorn; stay for the cinematic edification.Photo by Alexi Rosenfeld/Getty ImagesFilm Forum209 West Houston Street, Manhattan; filmforum.org.A New York institution for more than 50 years — it has been at its present location since 1990 and added a fourth screen in 2018 — Film Forum hosts some of the most extensive retrospectives in town, often showing dozens of films from a director or from stars like Toshiro Mifune and Sidney Poitier. Regular attendance constitutes a cinematic education in itself, and the popcorn, to which moviegoers apply sea salt themselves, is a delicacy.French Institute/Alliance FrançaiseFlorence Gould Hall, 55 East 59th Street, Manhattan; fiaf.org.This classy venue with excellent sightlines hosts screenings on Tuesdays. The programming consists of new and vintage films from France, with English subtitles, bien sûr. Series typically have a theme — it might be Wes Anderson selecting favorites by Ophüls and Truffaut or a program of recent French comedies.IFC Center323 Sixth Avenue, Manhattan; ifccenter.com.This Greenwich Village five-screen theater boasts four first-rate auditoriums (and one cubbyhole) and typically shows many more than five movies in a given week, usually with a short beforehand. Shows can start as early as 10 or 11 a.m. and, on the weekends, as late as midnight. The concession stand sells T-shirts that substitute directors’ names for those of heavy metal bands.Japan Society333 East 47th Street, Manhattan; japansociety.org.This theater’s annual Japan Cuts series is probably the largest single showcase of recent Japanese cinema on the New York cinephile’s calendar. For the rest of the year, new movies share screen space with classics, often shown on 35 millimeter.Light Industry361 Stagg Street, Brooklyn; lightindustry.org.This microcinema, which specializes in experimental film and typically holds screenings on Tuesday nights, hosted its final program at its longtime Greenpoint location in April. It will reopen by June on Stagg Street. Past screenings have varied widely; they’ve included early work by William Castle, a four-hour Mexican serial from 1919, Hollis Frampton and Owen Land films on 16-millimeter and a marathon of “Police Squad!” episodes.Maysles Cinema343 Lenox Avenue, Manhattan; maysles.org.This small (about 60 seats) Harlem venue specializes in documentaries — it was founded by the director Albert Maysles, of “Grey Gardens” fame. The programming often places an emphasis on social issues and local artistry.Metrograph7 Ludlow Street, Manhattan; metrograph.com.An ever-changing (and expensive!) selection of international candies, a nook of a bookstore and a high-class restaurant, the Commissary, are among the features of this Lower East Side two-screen venue, which opened in 2016. (Many don’t notice, but it sits across the street from the neglected Loew’s Canal Theater.) The retrospectives, such as a recurring series of the programmers’ favorites, organized alphabetically, have a correspondingly artisanal feel.Museum of Modern Art11 West 53rd Street, Manhattan; moma.org.MoMA has been showing movies since the 1930s, when Iris Barry, the museum’s first film curator, helped advance the idea that films should be collected as art. Today the institution’s two main theaters screen films from its own collection and archives around the world (the annual series To Save and Project highlights recent preservation work). Admission to most screenings is free with membership.Museum of the Moving Image36-01 35th Avenue, Queens; movingimage.us.The high ceilings and blue wall padding give a faintly futuristic feel to the 267-seat Redstone Theater, the main auditorium in this museum in Astoria. That works well when a favorite like “2001: A Space Odyssey” is playing on 70 millimeter. More specialized fare sometimes is shown in the Bartos Screening Room down the hall.Nitehawk CinemaProspect Park, 188 Prospect Park West, Brooklyn. Williamsburg, 136 Metropolitan Avenue, Brooklyn. nitehawkcinema.com.These stylish dine-in theaters have several screens that show new releases and perennial favorites (“Carrie,” “Face/Off”) from brunch time to midnight-snack time. Both venues have bars.The Paris Theater, once a destination for French film, is now leased by Netflix.An Rong Xu for The New York TimesParis Theater4 West 58th Street, Manhattan; paristheaternyc.com.Once a go-to destination for French cinema and films with a literary pedigree, the Paris briefly closed in 2019, but then was leased by Netflix, which uses it for theatrical runs of its streaming titles (like Jane Campion’s “The Power of the Dog”) and older movies intended to complement them. It’s one of the few remaining New York theaters with a balcony.Quad Cinema34 West 13th Street, Manhattan; quadcinema.com.When this Greenwich Village theater opened in 1972, having four screens was unusual. (“A new way to go to the movies,” boasted a New York Times ad on the first day.) It reopened in 2017 after a renovation that gave it bigger, comfier seats for viewing new art-house releases, like “A Hero” or “We’re All Going to the World’s Fair.” Plus, there’s an adjoining bar.Roxy Cinema New York2 Sixth Avenue, Manhattan; roxycinematribeca.com.Located in the basement of the Roxy Hotel, this plush red screening room offers a mix of revivals (often on 35-millimeter film) and second-run programming — recent releases that have been in theaters awhile.Spectacle124 South Third Street, Brooklyn; spectacletheater.com.A grungy Williamsburg microcinema started in 2010, Spectacle has a calendar as eclectic as it is inscrutable. There’s horror and martial-arts fare that tends toward the obscure, along with a lot of international titles that never turn up in other New York venues.United Palace4140 Broadway, Manhattan; unitedpalace.org.One of the original Loew’s Wonder Theaters — movie palaces built in the late 1920s, with one in each borough except Staten Island (Jersey City got it instead) — this architectural marvel in Washington Heights is an attraction in itself. It’s now run by an organization that promotes interfaith artistic events, but the theater also hosts concerts and, generally once a month, movie screenings. Lin-Manuel Miranda, a neighborhood resident, chipped in for a new screen and projector. More