Netflix, which doesn’t put movies in theaters for very long, still likes the great old New York palaces.

Right now they’ve got “The Irishman” playing to sold out crowds at Broadway’s Belasco Theater.

Next Sunday, they’re taking over the dormant Paris Theater across from The Plaza Hotel to premiere “Marriage Story.” The Paris has been closed for several weeks, and still has the marquee poster for Ron Howard’s “Pavarotti.”

The owner of the building that houses the Paris — real estate magnate five time billionaire Sheldon Solow and his son — shut down the Paris on September 1st.

But Netflix is smart, and knows that the Paris adds prestige to their films. They’ll run “Marriage Story” there for about three weeks beginning November 6th and ending the 28th. They may cut a deal to follow with their other Oscar-buzzed movies, like “The Two Popes.” Maybe when “The Irishman” finishes up at the Belasco, it can move there. (This is just hopeful daydreaming.)

Here’s an idea: why don’t they just buy it and call it the Netflix Paris?

That may be all for “Terminator” movies, just as it was for “Rambo” last month.

The new Terminator entry, “Dark Fate,” cost at least $185 million to make, and took in just $29 million over the weekend. It’s DOA. To paraphrase Arnold Schwarzenegger, “he won’t be back.”

Schwarzenegger brought back Linda Hamilton, had a team of expensive writers, and then handed this ghastly expensive project to a director, Tim Miller, who’d never made a feature film. Let’s say that again: never made a feature film. In what business would you give something that costs $185 MILLION DOLLARS to a total novice? Unbelievable.

Many important people are involved in the mopping up: Both Paramount and Fox-Disney, Skydance, Tencent, Lightstorm Entertainment and TSG. They’ve spread the misery around, certainly. And so many people have to get paid before Arnold, unless that’s in his deal. James Cameron, for one, and David Goyer. A mess.

Paramount is having a tough time. They invested in a lot of “franchise names” like Will Smith (“Gemini Man”) and Arnold, and got nowhere. They’re probably thanking God for “Rocketman.” Because of the success of the Elton John movie, Paramount will try to replicate the success with their BeeGees movie which tell the tale of the Gibbs brothers rising out of Australia, having many hits, bringing in their youngest brother, Andy, who soared to fame and success then died. Then two of the main brothers die, leaving Barry Gibb in Miami. They should call the movie “How Can You Mend a Broken Heart?” but they’ll probably call it “Stayin’ Alive.” As long as they don’t call it, “I Started a Joke.”

As for “Terminator,” enough already. Sylvester Stallone’s “Rambo: Last Blood” was a dud with $44 mil here, $44 mil abroad. There will never be another “Die Hard” movie with Bruce Willis. The era of the ’80s avenging anti-superheroes is over.

Todd Phillips’s “Joker” is dark, a little depressing, and kinda violent. Joaquin Phoenix’s performance is outstanding. So are the all visuals, etc. In the last couple of weeks, a meme has taken over as fans — either set up or spontaneous– have flocked to the Bronx’s Shakespeare Avenue steps to re-enact the Joker’s jolly jaunt.

And now, the box office worldwide is eyeing 1 billion dollars. This movie has been a phenom. Tomorrow it crosses $300 million just in the US. “Joker” has held the number 1 spot for weeks. Obviously there are repeat customers. Arthur Fleck’s pathetic life has definitely struck a chord. And so far, thank goodness, no one’s gotten hurt.

For Warner Bros, “Joker” is a lifesaver. The studio tried a bunch of smaller dramas this year and really got burned. Edward Norton’s “Motherless Brooklyn” is out this weekend, it’s a dud. But it did inspire some “Ed Norton” puns from boxofficemojo.com. Hey, Art Carney would have been great in “Motherless Brooklyn.”

The big happy news is that “Harriet,” starring Cynthia Erivo as Harriet Tubman, did better than predicted this weekend. Receipts on the underground railroad were $12 million. Erivo is heading to an Oscar nod for Best Actress and she’ll get a best song nomination. Cool stuff.

Digital projection is still not completely groovy especially when it comes to screening films or TV shows for large audiences.

I’ve heard two accounts of the disastrous premier showing of Martin Scorsese’s “The Irishman” at the Landmark 57 Theater on Friday morning. The 11:15 show was supposed to be the first screening in New York, and it was sold out. But the whole thing went sideways, fast. The show was cancelled, and patrons were given passes to return next week.

One patron, who brought two friends, wrote: “After making reservations a month ahead of time to get good seats in the Fancy Landmark theatre.
Got there on time seeing an 11 15 am show yesterday.
Theatre was packed all set to see it. When a usherette
or whatever came down to make an announcement that they will not be able to show it
because part of it was missing,
You think it was the end of the world. People screaming that they came in from Jersey
to see this, people threatened to call Scorsese, 1 person called CBS thinking it is right
down the block but they said they weren’t interested. I guy. a lawyer is going to bring a class action
suit against the theatre. It went on and on.
Well I’m going to see it Wednesday I hope. They gave us passes.
I Let you know if they found the film.”

There was a problem with the second show as well, also cancelled. But things were straightened out after that.

Ah well. On Twitter, the account @AsALSeesIt wrote:

The last Terminator movie, “Genesys,” made $26 million in its first three days of release back in July 2015. That was a mid week opening so it’s hard to compare. But the new “Terminator” — which sent Linda Hamilton into extra sit ups — is about the same. It made $10 million last night. Maybe that’s a $30 million weekend, but probably less. Who wants to see this?

“Jojo Rabbit” expanded to 256 theaters and made $730,000 last night. The rabbit is nibbling at the box office. I’m waiting for it be to boiled. Let’s see if it can scamper away from the pot.

Edward Norton’s “Motherless Brooklyn” is not going to work out. Audiences must realize Bruce Willis is only in it for 15 minutes and doesn’t do very much. Still, the whole noir aspect is excellent, and Norton remains a fascinating actor. But last night’s take was just $1 million in just over a million locations. Warner Bros. was brave to release it, it’s not in their wheelhouse. But they’ve tried a lot of smaller movies this season, and deserve credit for it. “Joker” is their bread and butter.

Paramount is trying to leave “Gemini Man” in theaters until it reaches $50 million. That’s like a death by paper cuts. They’re five mil away.