Column: Why I walked out of a movie and what it says about theaters today
- Nate Adams
- Jun 19
- 4 min read
For the first time in my life, I walked out of a movie.
Not because the film was bad or because of some last-minute emergency, but because of something far more controllable and, frankly, frustrating.
As a film critic, it’s part of the gig to stay through a movie no matter how painfully uninspired it might be. And trust me, I’ve had my fair share of moments where I wanted to bolt for the exits. “Movie 43,” “Hurry Up Tomorrow,” “Baywatch,” “Cats..” I’ve endured them all. I’ve always believed that if I’m going to write honestly and ethically about a film, I have to see it through. You can’t credibly critique something you didn’t finish.
But last night, I was attending an early screening of Pixar’s upcoming release “Elio,” fully expecting to settle in and then write about it ahead of its theatrical debut. However, as soon as the film started, I noticed something was off: the screen was flickering. Not in a subtle or momentary way, but consistently and distractingly throughout the image. I knew immediately what the problem was: the projector bulb had gone bad.
I informed the theater staff, hoping there might be a quick fix. Unfortunately, there wasn’t. I was told it was a more involved process that couldn’t be resolved until after the screening ended. (To their credit, the staff was extremely sympathetic, offered a pass to come back, and even let me watch something else that was playing. No complaints there, they were doing their best within the circumstances.)
But as I walked out of the theater, all I could think about were the people still sitting there. Many were likely excited to see a new Pixar film, perhaps even bringing their kids or friends along for a fun evening, and yet they were watching a visually impaired version of a movie from one of the most visually meticulous studios in cinematic history.
Unfortunately, this kind of thing isn’t rare. In fact, issues like this are increasingly common, and almost all of them are preventable. As someone who sees hundreds of movies in theaters each year, I’ve witnessed just about every technical and environmental problem imaginable. But within the last couple years, and honestly the last few months, I’ve noticed an alarming trend at not only local establishments, but nationwide chains.
Projector misfires. House lights not going down. Speakers blowing out. Movies not starting on time. Ripped or dirty screens. Focus issues. The masking being slightly off (where the image doesn’t align properly with the screen). Screens dimmed unnecessarily because the REAL-D z-screen for 3D presentations was left in place during a 2D showing. That last one might sound niche, but it’s a real issue: leaving the z-screen up significantly darkens the image, leaving viewers with a duller, more desaturated presentation, especially disappointing if you’re watching a movie meant to be bright, vibrant, and immersive. It’s also an easy fix. Not to mention the folks who have no theater etiquette: from being on their phones to talking throughout the whole movie.
Imagine a family of four forking over upwards of $100 between tickets and concessions and getting that kind of experience?
These issues matter. They might not always be obvious to the average moviegoer, but they contribute to a cumulative experience that feels second-rate. People notice, even if they can’t pinpoint the cause. And when they leave the theater thinking, “we could have stayed home and watched Netflix,” that’s not just a casual observation, it’s a problem for the entire theatrical ecosystem.
This is why I often opt for IMAX screenings. IMAX has stringent quality control standards. They routinely inspect their theaters, and if something’s off, they send technicians to correct it. In other words, they care about preserving the experience. They understand that when audiences are paying a premium to see something on the big screen, they deserve the best possible version of that film. Some major chains could learn a thing or two.
Let me be clear: I don’t blame the theater employees. Most are underpaid, understaffed, and undertrained. Many are juggling concession duties, ticketing, and ushering with minimal support. It’s unrealistic to expect them to notice every technical glitch, especially if they’ve never been trained to know what to look for. This is a systemic issue, not an individual one. Most of the time, smaller theaters in rural cities are forgotten about and aren’t allocated resources to amend their problems. Sure they may have nice amenities: reclining chairs, an expanded concession menu, and even a bar, but what about the things customers have come to see? You know, the movies?
At a time when theaters are fighting tooth and nail to stay relevant in an age of streaming, they simply cannot afford to deliver subpar experiences. A flickering projector bulb. A dimmed screen. A poorly masked frame. These aren’t just technical annoyances, they’re dealbreakers. They undermine the very thing that makes going to the movies special. If theaters want to thrive, they need to treat presentation quality as non-negotiable. Audiences are paying for more than just access to content, they’re paying for an experience.
And when that experience fails, they remember. Supposedly, help is on the way. Cinema United, the trade group formerly known as the National Association of Theatre Owners, has backed a new federal proposal aimed at revitalizing movie theaters across the country. The initiative would provide direct grants to help venues, particularly small and independent theaters, upgrade their infrastructure, from projection and sound systems to seating and concessions. Calling movie theaters a “Main Street industry,” Cinema United president Michael O’Leary framed the effort as a crucial investment in the future of the theatrical experience.
I’ll believe it when I see it.
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