剧情简介
《AA婚姻日记》是一部青春题材戏，至尊之永主要围绕80后的婚姻情感生活，至尊之永讲述现代年轻人对于情感的一种理念，和在荧屏上热播的电视剧《奋斗》《我的青春我做主》一样，都是属于80后题材情感戏。主人公梦瑶和楚南结婚后，享受着AA制带来的情趣和快乐，也经历了AA制婚姻带来的悲欢离合……
至尊无上II之永霸天下
《AA婚姻日记》是一部青春题材戏，至尊之永主要围绕80后的婚姻情感生活，至尊之永讲述现代年轻人对于情感的一种理念，和在荧屏上热播的电视剧《奋斗》《我的青春我做主》一样，都是属于80后题材情感戏。主人公梦瑶和楚南结婚后，享受着AA制带来的情趣和快乐，也经历了AA制婚姻带来的悲欢离合……
佟大为
回复 :下属的一个失误令身为上司的郑凯（黎明 饰）事业陷入困境停滞不前，不仅如此，他还得承担下属造成的巨额损失。郁闷至极的郑凯只能借酒消愁，在酩酊大醉之际，一位陌生的黑车司机（耿乐 饰）将郑凯送回了家并且留下了电话，此时的郑凯并不知道，这名神秘的男子，将彻底改变他的一声。黑车司机反常的态度和疯狂的举动令郑凯感到不寒而栗，他并不记得自己和此人说了什么，那一夜两人又经历了什么。没过多久，一直为难郑凯的上司突然惨死，而郑凯则成为了警方重点怀疑的对象，只有郑凯知道，这一切和黑车司机有着脱不清的干系，而随着时间的推移，黑车司机已经在不知不觉中来到了他的身边。
空中铁匠乐队
回复 :恩淑（文索利 饰）是一位性感火辣的女教授，才貌双全的她浑身散发着费洛蒙的气息，惹得她周围的男人们纷纷想入非非，情不自禁地向她靠近。金（朴元尚 饰）是节目《保护我故乡的环境》的制作人，一次偶然中，他和恩淑相遇了，金完全被恩淑所征服，不顾她已是有夫之妇的事实，向其展开了火热的攻势。石奎（池珍熙 饰）是一位漫画家，他的到来令恩淑周围的男性们充满了戒备，因为石奎英俊帅气极有魅力，大家都将他当做了自己最强劲的对手。令人大跌眼镜的是，恩淑最终竟然和金打得火热。刘老师（刘承睦 饰）是围绕在恩淑身边的男人们中的一员，通过缜密的调查，他发现了石奎秘密的过去。
李泉
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.
