夜来香（何莉莉 饰）表面看似普通女子，视频其实际身份是大名鼎鼎的艳盗。这一次，视频夜来香将行窃的目标锁定在了富家小姐林莉莉（崔芝淑 饰）所佩戴的钻石“维纳斯的眼泪”上。和夜来香有相同目标的，还有一位名叫夜爵士（凌云 饰）的怪盗，最终，这枚价值连城的钻石会鹿死谁手呢？夜来香通过各种手腕终于和林莉莉混熟了，哪知道林莉莉竟然和夜爵士搞到了一起，趁着两人你侬我侬之际，夜来香偷走了钻石，并且将一枚赝品放进了原来摆放钻石的圣经中。之后，夜爵士从圣经之中偷走了钻石，此时的他并不知道，自己得到的是假货。
回复 :刘雅历（林子祥 饰）与朱丽娥（郑裕玲 饰）结为了夫妻，与女儿慧敏（周慧敏 饰）一起开始了新的生活。但没想到新生活将迎接挫折——某银行突然倒闭了，雅历所在的广告公司也破产了。面临事业的雅历感到非常沮丧难过，为新生活蒙上了阴霾。生活还是要继续的，慧敏与丽娥担当起了养活家庭的责任。可是这样以来便令雅历的心理承受着巨大的压力，家人之间的感情也渐渐变淡。慧敏跟旧同学一起做金融投资，一向聪明的雅历发现了当中的疑点，怀疑是旧同学骗取慧敏及他人的钱财……
新宝岛康乐队
回复 :纨绔子弟王立玄（乐轩饰），心有仙道却整日游手好闲，机缘巧合之下结识了翠云峰弟子叶琳琅（王水林饰），从此踏上修仙之路。修炼的过程枯燥乏味，一次潦草的出逃，却让王立玄偶遇了画壁中的美人箫仙子（贾斯越饰），二人结缘相恋，也让王立玄决意留在山上，苦练仙术。此时，在仙界的另一边，千年蛇妖黑珍珠三魂所化之三形——幻、魅、邪，在妖界蠢蠢欲动，伺机逃脱封印。至此，仙界与妖界将展开一场殊死之战。而修仙之路刚步入正轨的王立玄，将面临一场艰难的抉择：是打道回府，当回那个花天酒地的小少爷；还是冒着危险为万世求开泰，为百姓求安生？是浪荡一生，还是与画中人长相厮守？沧海一粟，何为情？何为爱？是劫还是缘，仅在一念之间……
梁永斌
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.
