If you need a booker that generally serves the western US, I'd be happy to refer you to mine.
As for bad experiences, it might not be such a good idea to name them here. Relationships with bookers involve a lot more than just their ability to route film to your theatre. Your personal performance with the studios, any past experiences with them, AND your "chemistry" with and expectations of the booker can have a huge effect on how the process works.
Some theatres are very easy to book for. They fit well into the mainstream... pay their bills on time and have few unusual demands. Booking for them is relatively easy and painless.
On the other hand, some theatres will hire a booker because they've messed themselves up so badly with the studios, they almost can't get anything. That creates some real challenges for a booker, and not all of them are good at dealing with it. Some flat don't want to.
I can tell you from direct experience that a booker can be red-hot with one exhibitor, and at the same time be continually at-odds with another.
In the end, maybe it's best to consider that starting off with a booker isn't necessarily a long-term commitment. It can take some time to get to know each other. If it works, do everything you can to be one of your bookers best clients. If not, split the sheets (amicably, if possible) and try another one.
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