影片《不做有钱人》通过讲述男主人翁有财家庭富庶，精品在奶奶的庇护下过着衣来伸手饭来张口生活，精品但这一切并不是有财想要的生活，他为了追逐自强自立的生活，鼓起勇气从家里逃了出来，却不慎被正在和闺蜜苏冉练车的超市员工丁珰撞倒在地并失忆。有财由于从家中出走匆忙，身无分文，也没带身份证明，丁珰只好让有财到家中暂住。在一次丁珰被追求者纠缠的时候有财挺身而出，打坏超市商品无力赔偿而被留在超市打工。在丁珰和超市老板浩哥的帮助下，他开始领悟到生活的真谛。同时善良可爱的丁珰让他产生了好感，经历了很多啼笑皆非的事情之后，有财终于拿着通过自己的努力挣得的人生第一笔收入买的小戒指向丁珰表白爱意。影片反应了当代青年积极进取的精神，不想依靠祖辈的余荫而希望用自己的双手来创造和收获幸福，并告诉观众只要你肯努力，不一味的享受物质生活，随着自己的意愿努力进取，不忘初心就一定能寻找到属于自己的一份天地和收获真爱！
回复 :二十世纪初，冀中平原民不聊生。地主冯兰池（葛存壮 饰）为霸占官产，砸钟毁证。农民朱老巩（崔嵬 饰）为民挺身，无奈抵不过强大的封建势力，气病身亡。幼子虎子（陈帆 饰）——朱老忠（崔嵬 饰）逃离家乡。25年后，正值壮年的朱老忠带领全家从关东返回家乡。深知盲目寻仇解决不了任何问 题。不久，他结识了地下党领导人贾湘农（鲁非 饰），并同严志和（蔡松龄 饰）、伍老拔（李建国 饰）等人一起走上革命道路。在朱老忠的带领下，他们在锁井镇和地主阶级展开了斗争。志和的长子运涛（赵联 饰）南下黄埔军校，参加了北伐战争。蒋介石背叛革命，运涛被捕入狱，革命陷入低潮。朱老忠带着江涛（赵万德 饰）去探望，从运涛那里知道了更深刻的革命道理。返乡后，他们串联锁井四十八村的农民，要在平原上卷起风暴......本片根据梁斌同名小说改编。
菲尔柯林斯
回复 :李雯雯（丁绮 饰）一家为了完成爷爷李隆（韩新民饰）的愿望，回到了故土厦门。李雯雯转学到爷爷的母校——具有百年历史的诚毅中学就读，和陈晨（黄诗佳 饰）等成为同班同学。 此时恰逢诚毅中学恢复重办“诚毅讲堂”，学校话剧社的同学们决定以该校校友——著名爱国女英雄李林的生平事迹为题材 ，排演一部话剧在“诚毅讲堂”上进行演出，话剧社社长萧峰（刘钊宏 饰）选定了李雯雯担任这个角色。然而话剧的排演过程并不顺利……
回复 :Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.
