Tatyana and I were waiting in line on the Disney Burbank lot for last Monday’s 7 pm show of The Last Jedi. Waiting and waiting. 6:25 pm, 6:30 pm, 6:35 pm…what’s going on? Suddenly the 4 pm show broke around 6:42 pm, and I knew there wasn’t a chance that they’d start again at 7 pm.

I happened to mention to Tatyana that Jedi lasts around 150 minutes, and a minute later she decided she didn’t want to stay. We agreed that she’d meet me outside the main Alameda gate around 9:45 pm. But we’d have to stick to this plan come hell or high water as we’d left our phones in the car in the parking garage, per Disney orders.

Sure enough they started the film late; it ended around 9:42 pm. I sped-marched out of the main theatre and up to the main gate. I knew the metal gates would be locked but presumed they’d have those special one-way doors that allow people to leave but not enter. Nope. Then I figured “okay, I’m agile, I’ll hop the fence” but I soon realized that was easier said than done.

It was now 9:47 pm but I didn’t see Tatyana. I walked down to the Buena Vista gate — same deal, no exit. The place is a fortress! I started to feel a little creeped out by those damn Mickey Mouse heads atop the green metal fence. Mouse heads…mouse heads everywhere.

Then I walked down to the Riverside Drive gate…another locked gate. You’re staying the night! I walked across Riverside on an elevated pedestrian bridge and down behind an animation building, and finally I came upon a driveway gate with access to the street. Disney security doesn’t fool around.

Two minutes later Tatyana showed up at the corner of Riverside and Buena Vista. She’d driven around the lot three times and was about to start on the fourth.

Obviously Star Wars: The Last Jedi is a huge hit. Sometime tonight domestic earnings are expected to hit $220,047,000 plus $230 million foreign for a worldwide haul of $450,047,000, and that’s after three days in theatres.

Obviously everyone wanted to see it this weekend, but what about those shitty “user” (i.e., ticket-buyer) ratings on Rotten Tomatoes (56% with 97,121 respondents) and Metacritic (4.9% out of 10)?

Metacritic user score for The Last Jedi as of Sunday noon.

Deadline‘s Anthony D’Alessandro has asked around and is reporting that while “user scores typically aren’t that far from their critical ratings,” the reason for the huge gap between critical upvotes for Jedi and negative responses from ticket buyers is due to malicious “trolling.” Additionally, he says, “there’s no way to filter on these sites whether or not the users have actually seen Last Jedi or not.”

This is why D’Alessandro trusts CinemaScore and PostTrak much more, as they “literally poll moviegoers in real time, as they’re exiting the theater.”

And yet no other films on the current Rotten Tomatoes roster are showing this kind of discrepancy — a 93% critical rating for Jedi vs. 56% user ratings from 96,829 respondents.

Ferdinand has a 73% rating and a 75% user rating. Justice League, generally regarded as a box-office underperformer, is at $40% (critics) and 79% (some very friendly users). Wonder is at 85% (critics) and 91% (users). The Disaster Artist is at 99% and 90%. Coco is at 97% and 96%.

In short, the only film beside Jedi with a serious critic-user discrepancy is Justice League, but in that case the film was much better liked by users than critics. In all other cases user and critic ratings are fairly close.

Two days ago it was reported that Dan and Toby Talbot‘s Lincoln Plaza Cinema, an arthouse sixplex and an Upper West Side cultural haven since it opened in 1981, has been given the heave-ho by its landlord, Milstein Properties. The theatre will close in January.

In an email a Milstein spokesperson told the N.Y. Times that “vital structural work” was needed to repair and waterproof the plaza around the building. “At the completion of this work, we expect to reopen the space as a cinema that will maintain its cultural legacy far into the future.” The rep added that it’s unclear “if the cinema [will] reopen with the Talbots in charge.”

This sounds like Milsteins want to sever ties with the Talbots. Maybe not.

Honestly? I’ve always kind of hated this little basement-level plex. Tiny shoebox theatres, small screens, seats mounted too close together, no leg room. The last time I saw a film there was…oh, six or seven years ago. It was raining outside (which was part of the reason I’d bought a ticket) and as I sat in one of those crummy little theatres, which felt damp and stuffy that day with the odor of soaked umbrellas and raincoats, I remember saying to myself, “What am I doing here? I don’t like the movie and the atmosphere is down-at-the-heels and the seat is too uncomfortable to take a nap in.”

But I always respected the Lincoln Plaza. A film-buff haven, a small business that has long fed the aura of Upper West Side knowingness. Every time I’d walk by I’d look up at that shitty little marquee and say to myself, “Good, it’s still there.” So the closing is a very sad thing. A shame. Diminishes the character of the city, makes the neighborhood a little less vibrant.

Smarthouse cinemas have always been good for the soul. Manhattan was a repertory cinema boom town in the ’60s, ’70s and ’80s. They’re all pretty much gone now, although there’s still the Metrograph, the 13th street Quad Cinema as well as the Cinema Village, the Film Forum, MoMA, the Film Society of Lincoln Center, the Museum of the Moving Image, BAM, et. al.

At the same time people have been lamenting for the last 20 years that NYC is becoming more and more corporate, and less and less accomodating for small- and mid-sized businesses, not to mention anyone earning less than a hefty six-figure income. Remember the death of Pearl Paint on Canal? Same kind of sadness.