#dir ted nicolaou

[l-ultimo-squalo]

Terrorvision (1986) dir. Ted Nicolaou

[zaat]

The Subspecies creatures in Subspecies (1991) dir. Ted Nicolaou

[evesaintyves]

for @remadoramicrofics October 4th prompt, "don't look now." 608 words. Read it below or on AO3 🎡

Seven years on, it hasn't gotten easier not to follow Nymphadora when Andromeda sees her in her little red mac, being led off by the hand with strangers, but she has gotten better at it. It's happened at Sainsbury's, and in the evening crush of the tube, and today it happens in the itchy drizzle on the Brighton pier with Teddy. He's tugging her toward the arcade, she's trying to steer him clear of the candyfloss stand lest he get it in his head to match the colour with his hair, and there she is. She comes into view for a moment, like always, and then slots back into the crowd. The hood of the raincoat covers her head—that was what it was for, as much as to keep her dry: she couldn't be trusted not to change herself in front of a throng of muggles; loved to do it, actually—and she is five, maybe six, skipping in her scuffed-up mary janes.

The last time Andromeda saw her she was in a floppy white t-shirt and jogging bottoms, trainers crammed on her feet with the heels smashed down, holding out the baby, unintelligible through tears. Her wet hair had soaked dark patches down her shoulders and back. She was screaming, Teddy was screaming, a car alarm was wailing outside. It was one in the morning. Andromeda was half-awake, still in one sleeve of her dressing gown. They'll be needing every wand—I can't just sit here, her Nymphadora was saying. She was so hysterical that Andromeda reached for the baby on the instinct that she might drop him, and as soon as Teddy was in her arms there was a smacking pop and Nymphadora was gone.

But just as Ted only comes to her dreams twenty years younger and in his full head of hair, broadshouldered, seizing her about the waist the way he used to do, the Nymphadora in the crowd is still always five. If she turned around, she'd be worming her tongue into the space where her front baby tooth used to be. But she never turns around.

"Nan," says Teddy, pulling on her sleeve. "Did you bring coins?"

She pries her change purse open with fingers that are starting to look like they belong to someone else: knobby at the joints, brown spots and squiggling veins. Time is spoiling her just as as it's spoiled almost everything else. Teddy bounces off to the game that has him stomp the floor tiles as they light up in blue and pink. His mother would have loved it. It's still a plummetingly wrong feeling to watch the kaleidoscope-haired child play, to open the door on him in Nymphadora's old bedroom, and to have him turn to look at her with the long solemn face of the man who led her into the trajectory of a killing curse.

Chin up, 'Dromeda, her Ted has said in dreams. In dreams, they are together at school behind the greenhouses, where it is overgrown with angel's trumpets which whisper and give off their funeral cologne in the breeze. It's all temporary, even this.

It's not as reassuring as he seems to think.

Outside the arcade, which is humid with popcorn-breath and ringing with tinny music and bells, the rain has started coming down in sheets. A young couple stop to share a kiss in it, gripping each other with all the never-enough desperation of new love, before they run for the shelter of the photobooth.

Stay where you are, Nymphadora, Andromeda thinks. It's bucketing down. You'll catch a chill.

But still she looks out into the rain until it's time to go.

image from the Criterion cover for Don't Look Now (1973), dir. Nicolas Roeg, from which i've shamelessly lifted a few elements of this fic.

[nitrateglow]

Spooky Season 2024: 32-36

Frenzy (dir. Alfred Hitchcock, 1972)

Hitchcock's penultimate film involves Scotland Yard's search for a sex-killer known as the Necktie Murderer. When a divorced matchmaking agency director named Brenda is the next victim, evidence points to her ex-husband Richard, a down-on-his-luck barman who just lost his job. In reality, the killer is fruit-seller Bob Rusk, an amiable sociopath who uses the circumstantial evidence against Richard to his advantage.

Frenzy is Hitchcock's nastiest film. The tone is as bleak and nihilistic as his work ever got, and the violence-- now unencumbered by censorship demands-- remains brutal, even by modern standards. The more I see it, the more impressed I am with the film, particularly its strong sense of time and place. The film captures London in the early '70s, giving it a time capsule quality. The minor characters are all vividly written and performed, coming off as real people and giving the setting even more of a lived-in feel.

Subspecies (dir. Ted Nicolaou, 1991)

Michelle is one of a trio of female college students going to Romania to study the local folklore. Unfortunately, her friends become vampire chow for Radu, a vampire with Nosferatu fingers and sloppy dinner etiquette. And he's got his sights set on her next...

Subspecies is the first in a series of direct to video movies about Radu, a truly delightful villain who toes the line between menacing and camp silliness. To be honest, these films aren't that great, but they're really fun, especially if you watch them with friends.

The Red Queen Kills Seven Times (dir. Emilio Miraglia, 1972)

Sisters Kitty and Evelyn despise one another. Their grandfather, fearing a family curse which says one sister will murder the other, leading to the killed sibling resurrecting then going on a killing spree, tries to prevent them from hating one another more. Unfortunately, a cat fight between the two women ends with Evelyn's accidental death and Kitty's hiding the corpse with the aid of a cousin. However, some time later, a red-cloaked figure with Evelyn's features starts murdering people in Kitty's social circle. Is the supernatural at work or is this the result of a more mortal plot?

The Red Queen Kills Seven Times mashes up traditional giallo tropes with what feels like an old dark house 1920s murder mystery. I picked this as one of my favorite new-to-me movies last year and it held up on rewatch. It's stylish and spooky, and has a phenomenal soundtrack.

The Birds (dir. Alfred Hitchcock, 1963)

When playgirl Melanie Daniels comes to the quiet California town of Bodega Bay, she expects to engage in flirtatious games with local catch Mitch. Instead, she shows up just in time for the bird population to start pecking out the eyes of every human in sight.

What can I say about The Birds? It's a true classic, less a sclocky disaster movie than a character piece about a variety of grieved, fearful characters. I love it more and more every time I watch it.

Kuroneko (dir. Kaneto Shindo, 1968)

After a pair of peasant women are raped and murdered by samurai, they return from the dead as vengeful ghosts sworn to kill the class of men who brought about their deaths. However, they are given pause when a particular young samurai comes along-- a former farmer who happens to be the younger woman's husband and the older woman's son. Can they kill him or will their lingering human emotions win out?

Kuroneko is one of the best ghost movies of all time. It is both heartbreaking and chilling, with interesting moral dilemmas for both the living and dead characters. The visuals are absolutely sublime, with deep shadows and characters emerging from the darkness in striking ways. Honestly, I do not want to spoil it-- it's incredibly good.

[ein-der-traum]

Bloodstone: Subspecies II, 1992 dir. Ted Nicolaou

[fourorfivemovements]

Films Watched in 2023: 103. Vampire Journals (1997) - Dir. Ted Nicolaou

[unbornwhiskeyy]

subspecies v: blood rise (2023, dir. ted nicolaou)

[facesofcinema]

The Shrunken City (1998)

[spine-tinglers]

Subspecies (1991) dir. Ted Nicolaou

[hayaomiyazaki]

hey do you have any recs for lgbt period dramas in the vein of like maurice, brideshead etc?

hello anon, that truly is the million dollar question *defeated sigh*! maurice and brideshead — and i do trust you’re referring to the 1981 miniseries, truly the epitome of adaptation cinema — are very much the paragons of those languid uni romances brimming with attractive, hedonistic(, gay) poetry enthusiasts, which is a very specific sub-sub-sub-genre i know a lot of us would like to see consciously expanded 🙃 within that specifically, i’d personally recommend…

another country (1984) dir. marek kanievska

either mädchen in uniform (i prefer the 1958 version but that is only because i saw it first)

les amitiés particulières (1964) dir. jean delannoy

the history boys (2006) dir. nicolas hytner

if… (1968) dir. lindsay anderson

dead poets society (1989) dir. peter weir**

then there are some good lgbt period dramas that, while having somewhat different dynamics or more convoluted plots than the films you’re looking for, do share a lot of their sensibilities, such as…

fingersmith (2005) dir. aisling walsh

tipping the velvet (2002)

the gold rimmed glasses (1987) dir. giuliano montaldo

dorian gray (1970) dir. massimo dallamano

orlando (1992) dir. sally potter

portrait of a marriage (1990)

life in squares (2015)

wilde (1997) dir. brian gilbert

carrington (1995) dir. christopher hampton

regeneration (1997) dir. gillies mackinnon**

the talented mr. ripley (1999) dir. anthony minghella**

and if find maurice and brideshead very indicative of your interests and taste, you might also enjoy these despite their being different sub-genres within lgbt film: carol (2015) dir. todd haynes, mystère à la tour eiffel (2015) dir. léa fazer, farewell, my queen (2012) dir. benoît jacquot, yves saint laurent (2014) dir. jalil lespert, death in venice (1971) dir. luchino visconti, cambridge spies (2003), the line of beauty (2005), man in an orange shirt (2017), jeeves & wooster**; and i haven’t seen these, but they’re on my list: daphne (2007), the secret diaries of miss anne lister (2010), un amour à taire (2005), tell it to the bees (2018), oranges are not the only fruit (1990) and perhaps picnic at hanging rock, the halcyon, and anne with an e**. fingers crossed for gentleman jack and vita & virginia! you might also be interested in spring awakening as well as indecent, but theatre is a beast i won’t even pretend i know how to tackle. and this is extraordinarily random but i’ve always had a soft spot for the slowburn between ted and ralph from the fast show — god bless those who edit gay storylines and upload them to youtube! saints!

**not explicitly lgbt (my ass)

here are some of my other recs in case they interest you & you have a lot of patience for rambling:

italian lgbt film recs

spanish- & portuguese-language lgbt film recs

70s & 80s lgbt film recs

contemporary foreign lgbt recs

trans film recs

my general lgbt films tag

resources for discovering lgbt films

[dive-star]

TerrorVision (1986)  -   dir. Ted Nicolaou

[moremoviesplease]

The Dungeonmaster (1984)

Dirs. David Allen, Charles Band, John Carl Buechler, Steven Ford, Peter Manoogian, Ted Nicolaou, Rosemarie Turko

☆Richard Moll, Jeffrey Byron, Leslie Wing☆

[fearsmagazine]

DEADLY TEN is an immersive cinematic initiative that will see Full Moon Features boldly producing a series of ten original genre films, live-streamed in front of fans. These ten films will include sequels of beloved Full Moon franchises, a spin on classic cult favorites, and daring soon-to-be essential genre films.  Principal photography will begin shooting in June 2019 and continue throughout the year in Europe and North America.  Release for the DEADLY TEN is slated for Spring 2020, and will premiere exclusively on Full Moon's Amazon Prime Channel.

In an unprecedented move, Full Moon will be giving fans an all access pass to this unique production by providing an inside peek into the magic of genre filmmaking.  Fans will be able to log into the DEADLY TEN website (www.DeadlyTen.com) and watch the current motion picture being shot in real time. Live feeds, exclusive on-set interviews, special effects secrets, pre-and post-production videos, interactive director's blogs and more.  Through this immersive experience, cineastes and budding young filmmakers can delve deep into mechanics of the movies and learn first-hand all about the joys, struggles, creativity, and hard work that goes into making a fully produced, independent feature film.

"This is one of the most exciting Full Moon production initiatives since our '90s video store heyday," says Full Moon founder and cult movie legend Charles Band.  "It's ambitious, high concept, a bit insane and there's never been another interactive filmmaking concept quite like this. As Full Moon thrives in the new terrain of streaming and takes viewers to places not many have gone before, we hope fans will love being a part of our new adventure!"

The DEADLY TEN film slate will include:

BLADE: THE IRON CROSS (Dir:John Lechago)

BRIDE OF THE HEAD OF THE FAMILY (Dir: Charles Band)

NECROPOLIS: LEGION (Dir: Chris Alexander)

SORORITY BABES IN THE SLIMEBALL BOWL-O-RAMA 2 (Dir: David De Coteau, Brinke Stevens)

BLOOD RISE: SUBSPECIES V (Dir: Ted Nicolaou)

HALLOWEED NIGHT (Dir: Danny Draven)

THE HOURGLASS (Dir: Ryan Brookhart)

FEMALIEN: COSMIC CRUSH (Dir: Lindsey Schmitz)

THE SHADOWHEART CURSE (Dir: Charles Band)

THE GRIM RAPPER (Dir: Billy Butler)

[moviespremieres]

TerrorVision

Dir.: Ted Nicolaou

14 February 1986 (released in USA).

[srankshocker]

Subspecies (1991) | Dir. Ted Nicolaou

[whatchawatchingq]

Subspecies (1991), dir. Ted Nicolaou. ***