3RD ANNUAL CHELSEA THEATER HALLOWEEN HORROR

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3RD ANNUAL CHELSEA THEATER HALLOWEEN HORROR

Join us for a spooky evening of film, live music, trivia, and costume contest! 

- FRIDAY, 10/24 -

FRANKENSTEIN (Guillermo del Toro, 2025, 149min) @ 7PM

COSTUME CONTEST + TRIVIA @ 9:30PM

PULSE (Kiyoshi Kurosawa, 2001, 119min) @ 10PM

HÄXAN (Benjamin Christensen, 1922, 91min) - featuring a live score performed by FOSSILIZED WILDERNESS (Ryan Martin) @ 12AM

FRANKENSTEIN (Guillermo del Toro, 2025, 149min) @ 7PM

From horror master, Guillermo del Toro, comes a new vision of Mary Shelley's FRANKENSTEIN.

A brilliant but egotistical scientist brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.

ONLY MONSTERS PLAY GOD.

PULSE (Kiyoshi Kurosawa, 2001, 119min) @ 10PM

From Amber T, FANGORIA:

The glory days of modern Japanese horror, perched right on the dawn of a new millennium, reflected an era of technophobia; a world of immediacy, isolation and the ghosts that thrive on it. Sadako Imamura in Ringu manifests her pain into the widely sharable format of a video tape. Mimiko Mizunuma in Takashi Miike’s One Missed Call uses the voicemail platform to spread her evil in quick succession. Even the nebulous blackhole of Kayako Saeki’s rage in the Ju-On franchise, while not directly tech related, envelopes any and all who come close – a figurative summation of a fear of close connection in the modern age. However, one film most perfectly encapsulates this particular zeitgeist, with its relevance only increasing with every passing year, its tendrils of dread coiled around the roots of all Internet horror since. Over two decades since its release, Kiyoshi Kurosawa’s Pulse is more terrifying now than ever before.

HÄXAN (Benjamin Christensen, 1922, 91min) + TRIVIA - featuring a live score performed by FOSSILIZED WILDERNESS (Ryan Martin) @ 12AM

Grave robbing, torture, possessed nuns, and a satanic Sabbath: Benjamin Christensen’s legendary Häxan uses a series of dramatic vignettes to explore the scientific hypothesis that the witches of the Middle Ages suffered the same hysteria as turn-of-the-twentieth-century psychiatric patients. But the film itself is far from serious—instead, it’s a witches’ brew of the scary, gross, and darkly humorous.