剧情简介
来自保镖世家的全国武术冠军楚歌，小川接到紧急任务：小川保护掌握金米科技总裁何超群违法交易证据而出逃的程序员沈星。执行的过程中，她发现此次任务远超自己的掌控，并意外调查到失散多年的师姐竟然是被大反派何超群收养控制。为拯救师姐，完成任务，楚歌只身前往反派老巢，面对八十怒汉虎视眈眈，楚歌决定放手一博……
小川阿佐美视频封面
来自保镖世家的全国武术冠军楚歌，小川接到紧急任务：小川保护掌握金米科技总裁何超群违法交易证据而出逃的程序员沈星。执行的过程中，她发现此次任务远超自己的掌控，并意外调查到失散多年的师姐竟然是被大反派何超群收养控制。为拯救师姐，完成任务，楚歌只身前往反派老巢，面对八十怒汉虎视眈眈，楚歌决定放手一博……
韩阳子
回复 :一早起来做爱的喜欢夫人。今天一大早老公有关系，但不想丈夫妻子的尊重。两个人的关系结束了，妻子在日本出差，赶出门。然后找到家的保姆。简单，平静，但过去的伤痛的是软弱的，暂时的保护本能摇摆。结果清纯的保姆的魅力。她希望了。我的心念。
物乐团
回复 :民国时期，付邵两家联姻，付家的陆军大帅府开办的映雪和维钧的订婚宴会上，林静恒前来刺杀付大帅，刺杀失败但劫持了映雪，当晚放了映雪，还给了她一串珠链。二人后来又在大街上相遇，两巡城兵见林静恒行迹可疑，追缉过程中静恒旧伤复发被映雪救回自己房里，映雪对静恒产生懵懂的爱慕之情。这一幕被付维卿发现了，维卿解释了静恒是她同父异母的哥哥。又躲过一劫的静恒开始第二次刺杀，但是很快被老谋深算的付大帅识破被抓。维卿不忍看这两兄弟相残就让映雪规劝静恒回心转意，静恒告诉了映雪杀自己父亲的真正原因。原来静恒的母亲没名分地跟着父亲（付将军）的时候，他只是同民会里的一个小头目，后来他贪图富贵叛会出卖了静恒的舅舅和外公，抛弃了静恒的母亲另娶他人，静恒母亲带着静恒躲到英国，后羞愤自杀，此时，静恒只有16岁。后来静恒加入同民会，要为母舅和外公报仇。两兄弟为了映雪而决斗，争斗中维钧的头疼又发作了（白血病）。当得知自己得了白血病后他对这份柔情毅然选择退让。林静恒后来回国，被同民会的人暗杀了，维钧主动要求去东北参战，付将军求映雪去救他这仅剩的一个儿子，把他带回北平。映雪只身赴东北。两人在那里经历了生离死别，互诉衷肠，映雪决定和维钧结婚。两人随后回到了北平，映雪产下一女，一年后，维钧含笑离去。
真情马克合唱团
回复 :Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy...Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time.Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958.Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading.Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.
