The Frida Cinema is pumped to present Stephen Chow’s Shaolin Soccer as our Volunteer Of The Month pick for October courtesy of Nathan! 

Nothing is as it seems on the field, where disgraced ex-players, washed-up coaches, and a ragtag crew of kung-fu brothers band together to reclaim their glory through the beautiful game. Watch as Shaolin monks bend physics, rocket soccer balls through the air like cannon fire, and unleash outrageous special moves that would make even Bruce Lee raise an eyebrow. 

A gravity-defying kick of pure joy for martial arts maniacs and sports movie fanatics alike, Shaolin Soccer was a global smash and instant cult classic.

Good Boy, the buzzy new horror film told from the perspective of a dog, finally scampers its way to The Frida!

A loyal dog (played by dog actor Indy, the director’s real life pet) moves to a rural family home with his owner Todd, only to discover supernatural forces lurking in the shadows. As dark entities threaten his human companion, the brave pup must fight to protect the one he loves most.

Premiering at this year’s South By Southwest, the film’s trailer gathered one million views in just its first four days, with its global interest only further piqued by its current 95% Rotten Tomatoes rating!  Catch it on the big screen at The Frida!

The Frida will be donating a portion of ticket proceeds from our Thursday, October 2nd screening of Good Boy to OC Animal Allies!  OC Animal Allies is a nonprofit organization founded with the mission to save animal lives and strengthen the human-animal bond in Orange County by providing emergency financial support, education, referral services, and therapy programs.

Werner Herzog’s only horror film, Nosferatu The Vampyre, is finally coming to The Frida Cinema!

It is 1850 in the beautiful, perfectly-kept town of Wismar. Jonathan Harker (Bruno Ganz) is leaving on a long journey over the Carpathian Mountains to finalize real estate arrangements with a wealthy nobleman. His wife Lucy (Isabelle Adjani) begs him not to go and is troubled by a strong premonition of danger. Despite her warnings, Jonathan arrives four weeks later at a large, gloomy castle. Out of the mist appears a pale, wraith-like figure with deep-sunken eyes who identifies himself as Count Dracula (Klaus Kinski). The events that transpire slowly convince Harker that he is in the presence of a vampire. Even still, he doesn’t realize the magnitude of danger he, his wife and his town are about to experience.

A dreamlike homage to F.W. Murnau’s 1922 silent classic, Nosferatu The Vampyre conjures a world where dread seeps into every frame—an atmosphere of fevered melancholy now revived in a new 4K restoration thanks to our friends at American Genre Film Archive!

They’re here. It’s Spooky Season, so you know what that means…it’s time to summon Tobe Hooper and Steven Spielberg’s 1982 masterpiece Poltergeist!

Nothing is as it seems in sunny suburbia, where cookie-cutter homes and smiling families mask a gateway to the beyond. When the Freeling family’s youngest daughter mysteriously vanishes into the television set, their idyllic life unravels into a parade of sinister spirits, creepy clowns, ravenous trees, and otherworldly terrors. Can they rescue her before she’s lost to the other side forever?

A cornerstone of 1980s supernatural cinema, Poltergeist blends the very best elements of horror and blends them into a suburban nightmare. 

Riding the J-horror wave spawned by Ringu and Audition, Ju-On: The Grudge is one of the key 2000s films from Japan that redefined horror’s cultural landscape.

A social worker visits an elderly woman at her house. The woman appears deeply disturbed, but that’s nothing compared to the shapeless black void — also known as “Kayako” — that lurks in an upstairs hallway.

Quiet, creepy, and with bursts of unexpected intensity, JU-ON: THE GRUDGE combines liminal spaces and creepypasta chills to rattle your skeleton. There’s nothing scarier than not knowing what’s scaring you.

The curtain falls on our Dario Argento restrospective with a scream. For the final act, we present Opera—a film that distills all of the maestro’s obsessions into one glorious, nightmarish aria.

A young opera singer, thrust into the spotlight during a cursed production of Macbeth, finds herself stalked by a sadistic killer who forces her to watch as her friends die in increasingly elaborate set pieces. What follows is Argento’s most technically virtuosic and perversely beautiful film, where horror and high art bleed into one another—sometimes literally.

Featuring infamous sequences involving needles taped beneath the eyes, flocks of vengeful ravens, and a thunderous metal-infused score, Opera is both a love letter to cinema and a howl of rage from a filmmaker pushing the Giallo form to its breaking point. As the camera swoops, the bodies fall, and the aria rises, Opera reminds us: no one stages death like Dario Argento.