While most movie fans are satisfied building a collection of their favorite DVDs, Shane Scheel has gone miles beyond in his devotion to his favorite cinematic treasures.

As the co-creator and producer with Christopher Lloyd Bratten of the “For The Record” series of live events held at the Barre VT bar in the Los Feliz neighborhood of Los Angeles, he has paid tribute to the films of the Coen Brothers and Quentin Tarantino. The series features performers re-enacting the most iconic dialogue exchanges of those filmmakers’ features, as well as singing and dancing their way through the greatest tunes of their oeuvre.

But Scheel has topped himself big-time with his current show, “John Hughes: Holiday Road,” which plays Wednesday through Sunday nights before closing Dec. 30.

The two-hour extravaganza features an amazingly talented six-person cast and a five-piece rock band bringing the best of Hughes’ scenes and songs to life from his ‘80s films through “Home Alone.” Whether you’re a fan of Hughes’ high school movies (“Pretty in Pink” and “Ferris Bueller’s Day Off”) or the “Vacation” series and “Planes Trains and Automobiles,” the interactive cabaret-style show is one of the most entertaining nights of music and comedy you’ll ever experience.

Scheel spoke with Big Hollywood recently about how the “For The Record” series – which next takes on Baz Luhrmann’s films including “Moulin Rouge” – came about, and why he thinks Hughes’ films continue to resonate with American film fans.

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Not every great director starts with a bang.

Francis Ford Coppola toiled in the Roger Corman B-movie mines before striking gold with ‘The Conversation,’ ‘The Godfather,’ and ‘Apocalypse Now.’ James Cameron got his feet wet on ‘Piranha Part Two: The Spawning’ en route to the ‘Terminator’ franchise.

However, ‘Blood Simple,’ the Coen brothers’ first film, immediately showcased the duo’s ability to conquer any film genre they choose.

‘Blood Simple,’ recently released on Blu-ray for the first time along with ‘Raising Arizona’ and several other early Coens features, finds the brothers marinating in classic film noir. The 1984 thriller is so bleak you’ll all but beg for comic relief, but the few laughs found here catch in your throat. These brothers have always played by their own rules.

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Every film critic has a Top 10 movie list, even if the only place it’s scribbled down is in the back of his or her mind.

We’re a list-crazy culture, and movie buffs of all stripes can’t help but place certain films in their personal hall of fame.

This film scribe is no different. And, in response to a Big Hollywood reader who suggested I post my own Top Ten Movie List to better introduce myself to this site’s audience, here goes nothing.

A quick note: To me, a Top Ten Movie List is deeply personal. It’s not a list of films that are more poignant, or better directed, or more richly artistic, than most movies. These films spoke to me in some profound way, reflecting both my formative years and the person I eventually became.

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This week we’re getting four Coen brothers classics on Blu-ray in a handy box set, as well as released individually: Blood Simple, Raising Arizona, Fargo, and Miller’s Crossing (though Fargo has already been made available).

The Coens specialize in bizarre crime movies, and each of these movies has its own, unique feel and tone.  Their first film, Blood Simple, is a a humorless, Texas-fried noir with an atmosphere that would inform their later adaptation of Cormac McCarthy’s No Country for Old Men. Even the opening of the Coens Oscar-winning comeback recalls their debut, where one of the characters monologues in a morose tone over various shots of the desolate Texas landscape.  The story would serve as the skeleton for many of their future films, a crime that is thrown into bloody chaos by a villainous loose cannon.  Said rogue is played in this film with cool menace by M. Emmett Walsh, a sleazy private dick hired by a jealous husband to murder his cheating wife and her lover, not realizing the detective has plans of his own.

Blood Simple was a quiet, somber affair, especially compared to the hilarious antics of their kidnapping caper Raising Arizona, which features Nicolas Cage doing over-the-edge crazy the best way he knows how.  The camerawork is reminiscent of their pal Sam Raimi’s debut feature, Evil Dead, in which the camera zooms along in a terrifying yet comedic manner (fun fact: Joel Coen was an editing assistant on Evil Dead).  Many consider this to be one of their best movies, and I certainly think its up there, as it is relentlessly entertaining and as colorful as movies get in terms of action and character. 

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Ah, 1996. A year that movie stars were made. Will Smith in “ID4.” Billy Bob Thornton in “Sling Blade.” Matthew McConaughey in “A Time To Kill.” Edward Norton in “Primal Fear.” Vince Vaughn and Jon Favreau in “Swingers.” And, of course, Billy Zane in “The Phantom.”

The big hullabaloo at the Oscars was that all of the best picture nominees but one were indy movies. Big deal, sniffed Cam.

“The English Patient” – I’m with Elaine Benes on this one.

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“Jerry Maguire” - I’m sure I’m in the minority here, but I still love just about everything about “Jerry Maguire,” despite its clunky moments.

“Secrets & Lies” – Other than “Naked,” which I saw under the influence of…something…I never have cared for Mike Leigh’s movies. Nor do I hate any of his movies, or find him to be a hack. But his movies don’t illicit anything more than a “that didn’t suck” outta me.

“Shine” - Really never got all the fuss over this one, either. I kinda hate it, in fact.

“Fargo” - From the lie that it’s based on true events to every aspect of the execution — everything about “Fargo” screamed instant classic. (more…)

When the Coen brothers, Joel and Ethan, announced that they were going to remake True Grit, it sparked all of the usual arguments about the merits and demerits of such undertakings.

The first film, released in 1969, sits in the mid-upper tier of movies made by its star, John Wayne (as well as winning him his only Oscar), and as such has achieved a kind of classic status among both Wayne fans and lovers of good westerns. There is a brand of theatergoer who maintains that there is no need to craft fresh takes on successful pictures, any more than we need new painters to dutifully re-imagine a masterwork like Da Vinci’s Last Supper.

On the other side of the debate are those who see good reasons for taking another swing at this piñata. Ever since the appearance of Wayne’s Grit, many fans of the novel — which first appeared forty-two years ago as a Saturday Evening Post serial written by Charles Portis (1933–) — have been keen to see a cinematic version that hews far closer to the plot of the book. Others see remakes as akin to a contemporary orchestra re-recording — and in the process re-interpreting — a famous piece of classical music, imbuing it with their own particular sonic signature. Seen in this light, the announcement of a new True Grit was a welcome one.

So now that the movie is out, who is right? Is the remake ill-advised, or a welcome addition to the western canon? Does the 2010 version have what it takes to make it a classic in its own right, or is it destined to be forever overshadowed by the 1969 original? (more…)

Hollywood, hear our plea:  Could you make some mainstream movies that don’t suck?  There’s nothing worse than a Christmas season where going to the movies seems about as appealing as sharing a straw with Lindsay Lohan.

Throw us a bone – how about more than just one or two flicks a year not targeted to the demographic that thinks Lady Gaga is a boundary-pushing icon of limitless creative vision?  Maybe a couple that are not focused on shiny supernatural creatures who chat about their feelings and stare longingly into the eyes of dead-eyed starlets acting as the surrogate for the millions of lonely shut-ins who adore them?  Just a few films not aimed squarely at creepy man-children dwelling in their moms’ Kleenex-strewn basements wishing they too could winch their bloated tushes into tights and fight crime just like their cinematic heroes.

How about more than just a handful of movies for men and women who need more than five hands to count out their age, who breathe through their noses, who have lives?  I have some dough – well, at least until the President and his fellow travelers declare me rich too – and I’d like to take my hot wife out once in a while to see a movie.  I used to go a lot, a few times a month.  But it seemed that five years ago there were always at least a few movies that piqued my interest.  Perhaps it’s me – perhaps I’m too demanding, what with my stubborn insistence on interesting stories told in a coherent manner by competent actors.  Or perhaps it’s just that the recent crop of movies is exceptionally crappy.

Let’s address the curmudgeon question here and now – yes, I have occasionally turned my hose on those damn kids when they messed up my lawn, but hobbies aside, the fact is that Hollywood is both leaving money on the table and sacrificing what little artistic credibility it has left by ignoring the normal adult demographic.  It appears that Hollywood has simply thrown in the towel and decided to focus on feeding formulaic moron fodder to a waiting cohort of slack-jawed ninnies eager for the next story about a magical robot or a superhero with issues. (more…)

Since my scathing two-part Big Hollywood editorial on imprisoned Iranian film director Jafar Panahi nearly three weeks ago, I have found myself drawn neck-deep into the campaign to push for his freedom. In that cause I have email-blitzed the media, the Academy, all the major US film festivals and as many contacts in Hollywood as I know and could find. I sent out deep background on his case, petitions for his release, and heartfelt pleas for Hollywood voices to speak up on Mr. Panahi’s behalf, along with not-so-veiled threats of PR Armageddon should the deafening silence continue.

I also informed all parties involved that I would do the same for any of them under similar brutal and inhuman circumstances. Whatever it took, be it sweetheart pleas or promises of a nuclear PR war. I have since dropped the latter approach, as I have been informed by Iranians also campaigning for Mr. Panahi’s release that it was not helpful to his cause. So on Mr. Panahi’s behalf, I have traded in my sword for a plowshare for the duration. Not a problem. I’m not a total ideologue. Just mostly.

This past three weeks have also brought many valuable learning experiences as well. I have since found that Facebook, which I have avoided like the Plague because I have enough on my geek plate already, is an incredibly valuable social networking tool that reaches even into the heart of Iran itself. I have made many new friends behind the Islamist Curtain, among them a Panahi family member, by posting any good news I could find on the Jafar Panahi and Free Jafar Panahi Facebook pages. (more…)

Picture a quaint Victorian house in the Hollywood Hills overlooking Los Angeles.  A modest insurance salesman shows up at the door, it is opened by a maid.  There is a beautiful woman at the top of the stairs; the sultry Mrs. Dietrichson, dressed in nothing more than a towel.  She gets dressed after the salesman tells her their car insurance doesn’t have them “fully covered.”

The following conversation takes place:

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The fast, witty, and flirtatious dialogue in this scene gives us light into how a man could possibly get seduced into what was to come.  This is of course, the big murder/insurance scam from Billy Wilder’s classic 1944 film Double Indemnity.

There was a time when dark crime films were popular both with mainstream Hollywood films and B-grade productions. McCarthyism, Hollywood censorship, and World War II among other things all played a role in the shaping and growing popularity of what became known as the classic period of America’s film noir (1940’s-1950’s). (more…)

Some of the biggest movies of any year aren’t in wide release until January, so some of us don’t see all them until much later. As of this week, I think I’ve seen what passes for “everything” from 2008. Herewith, my list of the Top Ten for the year just passed:

10. Sex Drive. Hilarious, under-seen, low-budget comedy starring the creative partner of the funny Michael Cera. Defeated at the box office because of its name, it features a few show-stopping scenes with Seth Green and a live-action pair of Beavis-and-Butthead types who steal the whole thing. This’ll do great on DVD. (more…)

While I was growing up in the liberal New York, my father, a rock-ribbed Republican and immigrant from communist Eastern Europe, was prone to hold grudges against entertainers. Thus, The Boycott was instituted to include a wide array of comedians, singers and movie stars. Their crime: political sedition.

There was, of course, the obvious. Jane Fonda, whose anti-Americanism is legendary, was a complete non-starter. Nor was there to be any mention of the frosty anti-Zionist Lynn Redgrave* at the dinner table. (Though, it’s difficult to imagine any normal kid actually wanting to mention, or even knowing who the hell, Lynn Redgrave was to begin with.) Even lesser-known lights such as Costas-Gravas and Martin Sheen were also banned outright.

So, come to think of it, I should probably thank dad for insulating my young mind from a needlessly torturous encounter with “The China Syndrome” or “Missing.”

The problem is, this boycott began to expand at such a precipitous pace that by its height I was exclusively watching movies featuring Jim Nabors and Burt Reynolds. I’m relatively certain, there was no pre-teen Jewish kid in the entire country — perhaps the world — who knew more about Hal Needham flicks.

Today, I can’t find a single star worth boycotting. I’ve come to accept there will be some perfunctory plotline that will cast capitalism as the sapling of all evil; I accept that every month another pretty face will grace us with an angry political homily.

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