Hey, it's been a couple of years, can you really blame me? And it ain't like I'm going to the Caribbean or Europe, I'm a mere bus ride away. But I need to shut down my routine life for a couple of days, and that includes the daily blog, at least for this weekend. I will now, however, provide you with the bulk-buy version of the daily Picks for the next three days, as well as the rep circuit's doings.

A throng of the wide-eyed gathered at Bryant Park yesterday to watch something called the NHL. The fools, don't they know this is where we watch movies during the warm weather?

Oh, this is a good thing? There is this thing called hockey and we have a team called the Rangers? And they're in something called the Super Cup? Okay then, good for them! Bully I say! Tell them to vacate Bryant Park by the 16th, Travolta needs the lawn.

Today's lone continuing series is An Auteurist History of Film at MoMA. Let us go then, you and I;

I feel like this week on the rep film circit is like that tortoise form the Bugs Bunny cartoon; yeah, he seems a little slow in the gait at first, but there's a DC-10 engine just below that shell. Things're gonna get frantic in just a few days, so perhaps we should be glad the choices today, while scant, are all top-notch fare.

Today's lone ongoing series is An Auteurist History of Film at MoMA. Let's get to it;

After a full-to-bursting weekend sked on the rep film circuit, we encounter another lull. Paucity, however, can instead be viewed as an opportunity for greater focus. Yes, there are but three screenings that fit the site's criteria today, but they are all deserving of our attendance.

Today's lone continuing series are also its concluding ones; An Auteurist History of Film Reprise, Part Two at MoMA, and Cool Worlds: The Animation of Ralph Bakshi at BAM Cinématek. The nutty koo-koo as follows;

With all the extra-anarchic calamity that has recently found safe haven within my efforts of late, it's nearly slid past me that this day marks the two-year anniversary of the website. Perhaps not the proper anniversary, since the interactive calendar took til August 2012 to make its debut, but this here's where we got started back in June of that year. Which brings me a moment of not only great pride but joy as well, and appreciation for the efforts of the people who've enabled me in my effort to encourage this niche addiction for classic cinema screened large.

Aloha, May 2014. Sayonara Springtime. Auf Wiedersen Arctic chill. We now, ostensibly, make our collective sojourn into weather far more accomodating to picnics, baseball and the fleet darting between rep film houses to sate our Cinegeek lust. June's got plenty of goodies in store for us, but for now let us pay our observances to this month's last offerings. 'Cause they're awesome.

Today's continuing series include Original Gangsters at IFC Center, Fassbinder: Romantic Anarchist (Part One) at the Film Society of Lincoln Center, An Auteurist History of Film Reprise, Part Two at MoMA, Punk Rock Girls at BAM Cinématek, and the penultimate weekend of Moving Image's comprehensive Kenji Mizoguchi retrospective. The hijinks look thus;

The new June calendar in classic film is almost ready, the podcast copy nearly written. Jeezus I cannot believe this month whizzed by so fast, I hardly remember what I did these last 30 days. Lots to get excited about in the coming Summer months, including the beautiful outdoor screenings in spots like Bryant Park, Brooklyn Bridge Park and Hudson River Park. However, let's appreciate what May '14 has left in store for the classic film fan.

Continuing series today include Original Gangsters at IFC Center, An Auteurist History of Film and spinoff An Auteurist History of Film Reprise, Part Two at MoMA, Punk Rock Girls at BAM Cinématek, Fassbinder: Romantic Anarchist (Part One) at the Film Society of Lincoln Center, and the sleek Cabaret Cinema at the Rubin Museum. The repertory wim wam as follows;

Nitrate Stock is happy to present the second in a series of interviews designed to bring you closer to your NYC film community. From the people who program the films to the ones who pop the corn, our aim is to broaden the dialogue and further personalize the experience.

Max Cavanaugh is a graduate of the film program at Hampshire College in Boston, Mass. As a member of the 1st generation of video store brats, however, his film education began some time before that. In his professional career he's spent time as assistant editor to famed documentarian Albert Maysles (The Making of Wes Anderson's "Life Aquatic", Masada at Tonic) and post-production manager on the doc Better Than Something: Jay Reatard, as well as working just about every job title at Manhattan's Film Forum. He is currently technical director and an associate programmer at Brooklyn's Nitehawk Cinema.

A lean day on the rep circuit, as May 2014 winds down (already???) and a new slate of classic films screened large awaits the NYC cinephile. June is a mere four days from now, and there's much to look forward to, but for now let's appreciate what we still have on our plates.

New and continuing series today are relegated solely to MoMA, and their Auteurist History of Film and spinoff Auteurist History of Film Reprise, Part Two programs. The monkeyshines look thus;

I trust that you all survived yesterday's carnivorous festivities mostly intact; heart-attack and stroke free, dry-cleaning bills seemingly minimal, all slightly intoxicated social awkwardness forgiven, hopefully even forgotten due to your own slight intoxication. Baseball and basketball watched, couches nap-tested, tattoos gotten then removed. Okay maybe that last one applies only to me, but I still demand your empathy.

Anyhoo, glad you're still with me, Stockahz. And now, to film: