Excavator Cleats For Ice

Distinguishing features: In good taste

"If the motor of the saw is thrown at the beginning of an unprecedented film series shocks. Nothing is like before. Sally only survived, but it remains only for the madness. No Way Out. The absolute evil, perverted, in the form of the madman who swings the saw (it shows the final shot), remains intact, the re-establishment of order, as is typical for the genre seems largely impossible. Was formerly the possible return of the threat than indicated, so here is the superiority of the forces of evil and the dominance of terror and violence are presented thus leads not laminated, they seem good. The ineradicable this Evil, as it was about in John Carpenter's Halloween only the function to have show in a movie sequel logical Hooper demonstrated earlier and more consistently. The Texas Chainsaw Massacre - Part 2 it will probably be little "(Ulrich von Berg:" Distinguishing features: Bad taste Tobe Hooper, the genius of the new horror film ", in films No. 12, November.. December 1981) Tobe Hooper

Texas Chainsaw Massacre was for me a long time only an idea, a promise, a handful of black letters on white background, a photo. In my head for years, he led an existence of the words Ulrich von Berg coined was existentialist of his mixture of imploring whisper, analytical distance and severity, which was garnished with many pop culture references ("There is a great record of the Ambient Noise: I was there at the Texas Chainsaw Massacre ) .

that of Berg's text me so enthusiastic, was also in the specific context in which it is embedded, as in 1980, first published magazine films was not only "things new and old from the cinema," as the subtitle but also the canonized next to the sidelines, the severity, the slight, Arthouse next trash. These treated otherwise separate spheres were found in films united in a clear black and white layout and a serious yet passionate tone. Antje from the Goldau, Jürgen Berger, Jochen Brunow, Norbert Grob, Norbert Jochum and Bettina went Thienhaus existing editorial is not about judgments of taste and exclusions, but the discovery and description of the various, often-neglected possibilities and forms of cinema. Wim Wenders and Tobe Hooper. Spiders and Christ Stopped at Eboli .


Like all lovers, magazines, film criticism from on Steadycam to Cargo , was the existence the films constantly threatened by financial ruin. In the editorial of the number 12 all that can be read: the will to be different than all the other magazines that sell to the industry, adherence to the issue price of 6, - DM, dependence on subscriptions, the self-exploitation of all parties. It is this tone of self-imposed marginalization and the ongoing struggle against the destruction that marked the lyrics and the selection of the discussed films and directors. Preferably, the Mavericks, the fighters in and outside of the systems, which experienced especially in the largest financial failure of praise. And in case of success was the most devastating criticism: "With Funhouse is completed the integration into all leveling Hollywood in the eighties, the mega-buck theater with its warm middle-class aesthetics, and should be making very difficult restoration. "(Ulrich von Berg on Tobe Hooper's third film)


Sam Fuller, Roland Klick, Monte Hellman, Sam Peckinpah, Tobe Hooper: Ulrich von Berg wrote lyrics about male-male Maverick Mavericks of the cinema. Here is a small, by no means complete bibliography and filmography:

>> Distinguishing features: Bad taste. Tobe Hooper, the genius of the new horror film ", in films No. 12, November / December 1981
given a reader's letter in the movies No. 13: "Love film-maker, that everything that has to do with film, a question of the relationship is, have you your readers often and penetrating enough taught. We must fill this barren spell no longer meaningless pages. What is still allowed in 1981 and forget you have to add more in the editorial: there could a film journal devoted to the horrific American director of the seventies, Robert Altman, a good number. Very nice hammer, considering. In addition, we were happy about the Berg Tobe Hooper-portrait - but Ulli! Hooper is not the master of the new horror film. Number 1, and still remains Wes Craven. His films have you forgotten your history, unfortunately. Your Werkstattkino "

>> Text to Kiss of Death by Henry Hathaway and together with Volker Hanrahan book review to Florian Pauer The Edgar Wallace films , films 13, 1st Quarter of 1982

>> Together with Norbert Grob: Fuller. Filmland Presse (Movies Edition), 1984

>> Together with Frank Arnold (ed.): The Late Late Show . 25 other faces from Hollywood. Descriptions, analysis, declarations of love. Verbal Verlag, 1985

>> Together with Frank Arnold: Sam Peckinpah. An Outlaw in Hollywood. Ullstein Verlag, 1987

>> Together with Romuald Karmakar: Hellman Rider , 1988.
Carlotta Films has the "fan-movie in the truest sense of the word" with Monte Hellman's The Shooting Western and Ride the Whirlwind published

>> The Cinema of Roland click. Edition Filmwerkstatt Essen, 1993

>> Video Mania. An interview with Frank Arnold on the collection, stacking and non-video viewing. " Steadycam 30, 1995

>> One Shot. The unknown singing career of Jack Palance ". Steadycam 50, Summer 2007

>> Together with Roland Klick: Commentary on Roland Klick deadlock , DVD of the Movie Gallery 451 , 2009

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Sunday 20 February 2011, 15.30 clock, as part of Cinema Bizarre in the B-Movie : Death Trap by Tobe Hooper . Ulrich von Berg: "First and last is Death Trap but a shameless slapstick adaptation of the plot of Psycho . Only without any psychoanalytic bombast, contemporary and to my mind a lot more fun. A real sacrilege that the proposition that the parody of a classic can only succeed with love and respect towards the original, finally cheeky contrary. "