Written By Caine Blackthorn
Ice Nine Kills Welcome to Horrorwood is heading to AMC Theatres this October, turning five horror classics into a monthlong big-screen event across approximately 300 locations nationwide.
The new AMC Thrills & Chills series is a partnership between AMC Theatres, Ice Nine Kills and horror entertainment brand Bloody Disgusting, bringing Hostel, Friday the 13th, American Psycho, Pet Sematary and The Crow back to theaters throughout the month.
Each Ice Nine Kills Welcome to Horrorwood screening will include a custom introduction from frontman Spencer Charnas before the film, followed by an Ice Nine Kills music video tied directly to the movie shown.
For a band that has spent years turning horror cinema into songs, videos, conventions, books and elaborate theatrical bloodshed, this feels less like a crossover and more like the next logical mutation.
Ice Nine Kills Welcome to Horrorwood Begins October 2
The Ice Nine Kills Welcome to Horrorwood series begins October 2 and runs through Halloween night.
Screenings will take place on Friday and Tuesday nights throughout October, with each showing beginning at 8 p.m. local time.
The films are not random genre picks. Each title has a direct relationship to Ice Nine Kills and the band’s horror-inspired catalog.
That connection is what separates Ice Nine Kills Welcome to Horrorwood from a standard October repertory series.
Instead of simply placing familiar horror movies back on the screen, AMC is allowing Ice Nine Kills to frame the experience through the band’s own cinematic universe.
That means the night does not end when the credits roll.
The movie is followed by the corresponding Ice Nine Kills video, closing the loop between horror cinema and the songs those films helped inspire.
Welcome to Horrorwood Film Schedule
The full Ice Nine Kills Welcome to Horrorwood lineup includes:
All tickets are available at AMC Fan Faves discounted pricing.
October 2 and October 6 – Hostel (2005)
October 9 and October 13 – Friday the 13th (1980)
October 16 and October 20 – American Psycho (2000)
October 23 and October 27 – Pet Sematary (1989)
October 30 and October 31 – The Crow (1994)
The Halloween weekend finale gives The Crow two screenings, including one on Halloween night itself.
For horror fans, that is a pretty difficult way to end October badly.
Spencer Charnas Introduces Every Screening
Every Ice Nine Kills Welcome to Horrorwood screening will begin with an introduction from Spencer Charnas.
That detail matters because Charnas has never treated horror imagery as decoration. It is central to the band’s identity.
Ice Nine Kills built The Silver Scream and The Silver Scream 2: Welcome to Horrorwood around horror films, turning familiar killers, characters and cinematic tropes into a connected musical and visual universe. Over time, that concept escaped the albums.
It spread into elaborate music videos, graphic novels, mock true-crime books, the Silver Scream Convention and collaborations throughout the horror industry.
Now Ice Nine Kills Welcome to Horrorwood moves that relationship into theaters themselves.
The band is no longer simply borrowing from horror movies. It is sharing the marquee with them.
Ice Nine Kills and Horror Cinema Have Been Moving Toward This for Years
The connection behind Ice Nine Kills Welcome to Horrorwood did not appear overnight.
The band has spent years becoming increasingly intertwined with mainstream horror culture.
Their music has appeared alongside major horror franchises, while Charnas has become a recognizable presence within the genre beyond metal itself.
Ice Nine Kills contributed “A Work of Art” to Terrifier 3, while “Twisting the Knife,” featuring Mckenna Grace, became connected with Scream 7.
The band also entered the world of Dead by Daylight in 2026 with “Play Dead,” while Charnas was announced as a voice performer in the upcoming Halloween: The Game.
Ice Nine Kills also composed music for the Terror Tram starring Art the Clown at Universal Studios Halloween Horror Nights.
Taken together, Ice Nine Kills Welcome to Horrorwood does not feel like a novelty partnership.
It feels like another step in a relationship the band has been building with horror culture for years.
Bloody Disgusting Joins the Horrorwood Takeover
Bloody Disgusting is also involved in the Ice Nine Kills Welcome to Horrorwood series, giving the project another direct connection to horror fandom. That partnership makes sense.
Ice Nine Kills has increasingly operated in the space between band, horror brand and multimedia franchise.
Bloody Disgusting has spent years occupying a similar crossroads within horror culture, covering film, television, games and genre news while helping cultivate a dedicated audience around horror itself.
AMC provides the theaters. Bloody Disgusting brings the horror infrastructure. Ice Nine Kills brings the blood. Everybody understands the assignment.
Why These Five Movies Matter to Ice Nine Kills
Each film in Ice Nine Kills Welcome to Horrorwood connects to material already embedded in the band’s catalog.
That gives the series a built-in narrative structure.
Rather than presenting five disconnected horror classics, the screenings function as source material brought back into conversation with the songs and videos they helped inspire.
That is particularly effective with a band like Ice Nine Kills because the relationship between movie and music has always been intentionally obvious. The references are not hidden, they’re the point.
Ice Nine Kills has effectively spent years asking what happens when a horror movie becomes a metal song.
Ice Nine Kills Welcome to Horrorwood reverses the question.
What happens when the metal song follows the horror movie back into the theater?
Horror Metal Goes Back to the Movies
There is something satisfying about this entire cycle. Cinema inspires music.
Music creates its own visual universe. That universe eventually walks back into the cinema.
Ice Nine Kills Welcome to Horrorwood brings the process full circle.
For fans who already know every reference, the series offers the chance to watch the original films on the big screen before seeing Ice Nine Kills reinterpret them immediately afterward.
For people who know the movies but not the band, it works in reverse.
They may walk into AMC for American Psycho or Friday the 13th and leave having discovered why a metal band has spent years gleefully turning murder into choruses.
Either way, somebody is probably getting stabbed theatrically.
Ice Nine Kills Welcome to Horrorwood Takes Over Halloween Season
October belongs to horror almost by default. Every streaming service starts rearranging itself around ghosts and chainsaws.
Stores suddenly fill with plastic skeletons. People who ignore horror for eleven months remember they love it.
But Ice Nine Kills Welcome to Horrorwood has one advantage over the usual seasonal programming.
It actually understands the culture it is borrowing from. Ice Nine Kills has built an audience partly because Charnas and company approach horror as genuine fans rather than tourists.
That makes a partnership with AMC and Bloody Disgusting feel unusually natural.
Metal Music Meets Marquee Movie Mayhem
Spencer Charnas described the series as a chance to combine metal music with movie-theater mayhem, which pretty much explains the appeal in one sentence.
Ice Nine Kills Welcome to Horrorwood is not trying to reinvent horror cinema.
The movies are already classics. The band already has a built-in horror universe.
Putting those pieces together creates something bigger than a standard anniversary screening or promotional music event.
It turns five familiar horror films into five Ice Nine Kills nights.
And for a band that has spent years dragging horror cinema into metal, it seems only fair that horror cinema finally drags Ice Nine Kills back into the theater.
Join Ice Nine Kills Welcome to Horrorwood begins October 2 at approximately 300 AMC Theatres locations nationwide and runs through Halloween night on October 31.
About The Author
Caine Blackthorn writes music news, trending topics, commentary, and feature pieces for Metal Lair with a focus on the shifting culture surrounding rock and heavy metal. From rising ticket prices and touring collapse to legacy artists, industry absurdity, and the changing soul of live music, his work blends sharp observation with the grit, humor, and frustration of the scene itself. Whether covering modern chaos or metal history, Caine approaches heavy music as something lived through, not simply reported on.
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