House of Games (1987)

The story of the making of this remarkable album is told here via exclusive interviews with band members James Hetfield, Lars Ulrich, Kirk Hammett and Jason Newsted, archive footage and performance, and contributions from producer Bob Rock. We revisit the original multi-tracks of the album, as well as listen to previously unheard demo recordings. Featuring the five singles from the album, Enter Sandman, Sad But True, "The Unforgiven", "Wherever I May Roam" and "Nothing Else Matters", this is the compelling story of one of the biggest selling albums of all time, a true Classic Album.

After uncovering evidence that her stepfather was murdered by her D.A. ex-husband and a ring of corrupt cops, a young woman is forced to flee with her daughter. She winds up hiding in a small, rural town, and things take a turn for the better when she falls head over heels for a local ranch owner -- but is danger still hot on her tail? Stay tuned!

A man and his daughter are attacked in the woods by what they believe is a Bigfoot-type creature. However, they soon begin to suspect that they may have stumbled onto a nest of aliens in a hidden spacecraft.

Jean and Roger decide to divorce after 10 years, but 12 hours later, they're together again by accident. Their cars collide, swerving to miss Juan, the jaywalking jewel thief who decides to cash in on the crash. The ex-couple are kidnapped, shot at, cast adrift, mistaken for smugglers and even survive a plane crash. But the toughest torture these two endure is being trapped together.

"This collapse of separate times into one image creates another push/pull with the experience of depth. The superimpositions seem to lie on top of the image, yet they move into depth, creating what Gehr describes as a 'teasing play with planes.' But the play with space and position here involves more than tension between layers. The variations on light and shadow on the two levels cause the double-exposures to pop in and out of depth. A shadow on the first level can give the superimposition a sudden burst of solidity. Gehr calls our attention to the multiplicity of depth cues that operate in a film in addition to perspective recession. The cue of overlap creates much of the amusement of the film, as the vehicles on one level plow through the phantoms on the other. Gehr was particularly fascinated by the way depth cues provided by color (with warm colors coming forward) interact with the logic of space..." – Tom Gunning

On the run and in search of help, two wounded gangsters find refuge in the secluded castle of a feeble man and his wife; however, under the point of a gun, nothing is what it seems.

A small town policeman must investigate a suspicious hunting accident. The investigation and other events result in him slowly disintegrating mentally.

One night Jefferson Reed gets hit in the chest by a souped-up chunk of meteor. So he can fly, but he's scared of heights. He can master the information in any book ... for about thirty seconds. Now his friends and family want him to protect their community from the dreaded Golden Lords.

Downtrodden writer Henry and distressed goddess Wanda aren't exactly husband and wife: they're wedded to their bar stools. But, they like each other's company—and Barfly captures their giddy, gin-soaked attempts to make a go of life on the skids.

Bert Kreischer faces a familial crisis and the arrival of his estranged father when the ghost of his booze-soaked past arrives: a murderous mobster hellbent on kidnapping Bert back to the motherland to atone for his crimes. Together, he and his father must retrace the steps of his younger self in the midst of a war between a sociopathic crime family while they attempt to find common ground.