小学生肖仪非常迷恋航模飞机，女帝爸爸说好带他去看航模飞机比赛，女帝却因爸爸被委任为印刷分厂厂长，工作忙而屡屡食ccc。肖仪父亲接印的却假冒“大力神”口服液的伪商标。肖仪发现后，和爸爸发生了冲突。回到家后，爸爸向肖仪解释自己不知造假的事。肖仪相信了他，爸爸送了一架航模飞机给肖仪。一天肖仪在家里接到一个恐吓爸爸的电话，便决定和小伙伴们去寻找证据，不料被造假的草头王一伙关了起来。并发现爸爸也被关在里面，父子俩紧紧搂在一起。肖仪把航模飞机从窗口放出去给外面的小伙伴送信，他们立即去报警，一举捣毁了这个造假黑窝。
回复 :西域九层妖楼惊现数具尸体，古老的传说、诡异的诅咒、恐怖的尸变、骇人的血案。一股神秘力量不断支配着这个恐怖禁地。究竟是冤魂索命还是恶蛊作祟，众人几经生死，能否还世间一个真相......
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回复 :四个20岁来自穷乡僻壤匹兹堡北部的孩子，他们陷入工作的困境，和家人关系又岌岌可危一个孩子从流行资讯里得到启发，计划在离家稍微远点的地方，通过组织未成年人的秘密活动取得大量资金，例如预定比赛，玩扑克，聚会等。一天晚上，4个年轻人偶然发现了新的邻居，2个妓女，贾斯帕和坎蒂丝，他们想到了新的赚钱办法。迫于生活无奈，2个人答应了4个人的要求。让人出乎意料的，他们真的开始逐渐富有了。但这一过程中，每个人都不断和自己的心魔做斗争，思考着有关自己到底何去何从的问题...
回复 :Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.Roger Philip Mellor
