This article outlines a structured critical reflection of Ben Hall’s analysis in his The Best Remaining Seats. The Golden Age of the Movie Palace. When it was published in 1961, this article progressively provoked interest in commercial architecture. Its mutations foretold its own disappearance, in the ways that were known at that time: it was architecture for cinematographic exhibition. Beginning with the identification of the main historic elements that are suggested by Hall, this analysis seeks to establish some of the continuities or lack of continuities that they subsequently have in renowned researchers' written works on the ever-changing cinema architecture.