Oh, this was pure nostalgia. Every Sunday morning as a kid I would head down to the local video game arcade to waste away a couple hours dropping coins down the slot. Immersed in the atmosphere, culture and community of crammed video arcades with kids/teenagers socialising in the noise and bustle of glaring screens, flashing lights, pounding buttons, electronic beeps and booming music, while waiting for their turn. Time would fly by!

This documentary is not about the games, but a candid look at the people, especially the gamers, who pretty much live and breathe this arcade lifestyle. It has become far more than just a pastime... it's reality. We get a fascinating, if a little too lax chronicle of the beginnings to the eventual fade out of the last remaining video game arcade in Manhatten, smack right in the middle of Chinatown. We follow around a small niche - from the owners, staff and regular customers discussing how the Chinatown Fair arcade had personally affected them and the connections they made through it. In this day and age of consoles and online streaming, the popularity of video game arcades and their aesthetics are becoming a dwindling relic, as sadly, nostalgia alone doesn't pay the bills. Therefore moving with the times is a must and catering for a new enthusiastic crowd is the only way to survive, which happens when a new owner takes over the space with an updated, family friendly approach. Will it be successful in the long run, who knows? Might be bittersweet, but The Lost Aracde finishes on a fitting final statement;

"I'll always be playing. As long as there's another opponent, who wants to play. I'll play with them. That's all that matters."

I just wanted to leave a quick review to express how brilliant this film is. It's certainly underrated on IMDb at the time of this review. Anyone who has interest in the rise and fall of social scenes in urban areas, especially under the wrath of capitalism, will enjoy this film. The director has a sociological eye in the way the film is put together, and there is so much subtext underneath so much of what is said.

From what I gathered, class certainly plays a role here too, as both of the successors of the original Chinatown Fair seem to require a bit more money for entry and participation. Although I was happy to see new generations of teens in the new Chinatown fair, I couldn't help but notice their designer brand clothes in contrast to the patrons of the original arcade. I wish the film could have unearthed that shift a bit more clearly.

Greetings again from the darkness. Webster's definition of "arcade" is how director Kurt Vincent chooses to start his documentary. While video arcade is the most widely used version, it was the alternative description of the word "passageway" that caught my eye.

In the 1970's and 1980's, video arcades were seemingly everywhere … peaking in 1981 with 24,000 locations throughout the United States, with the largest venues being in Times Square. Rather than take on the collapse/transformation of an industry, Mr. Vincent instead focuses on one particular NYC arcade – Chinatown Fair. The video footage shot inside the arcade prior to its closure offers up an intimate look at the atmosphere; a racially diverse group of youngsters bonding and socializing within an ecosystem that the outside world didn't understand (or care much about).

Placing your "next" quarter in line on the cabinet may have guaranteed you an upcoming time at the controls, but this can be viewed as the Land of Misfits with the gamers flocking to groups of their kind. These were the folks who didn't fit in with the more physically active groups at rec centers and on playgrounds, but instead thrived on the late night gatherings amidst the electronics beeps and flashing lights.

We meet Sam Palmer, the immigrant from Pakistan, who owned Chinatown Fair for decades. This father figure often hired his most loyal players to help run the place, and we hear the personal stories from a couple of these – one (Akuma Hokura) who was rescued from a life on the streets, and another (Henry Cen) who later opened his own competitive arcade in Brooklyn. It's perfectly accurate to describe this as a social community, and maybe not a stretch to call it a society unto itself.

Space Invaders, Pac-Man, Frogger and Street Fighter are just some of the most popular arcade games that finally gave way to home gaming – beginning with the 1986 introduction of Nintendo home systems. This development made gaming much more convenient for the masses, but also destroyed the social community of the local arcades.

We meet the guy who tried to re-open Chinatown Fair as a knock-off of Dave & Busters with an emphasis on family entertainment. However, as someone in the film states, "nostalgia is not really all that profitable". Mr. Vincent's film is a time capsule look at what made arcades work, and it's very interesting to learn that Chinatown Fair played a role in a DeNiro/Streep film, an Old Dirty Bastard music video, and even an episode of David Letterman's show. Going back to the opening definition, it's easy to see how a generation used the local arcade as a passageway to finding a social life and interacting with others … something that had previously been more challenging for them.