所谓：极度南方道，极度北方仙，胡黄不过山海关。中国东北一直流传着很邪乎的“出马仙”。传说中，有“狐、黄、白、柳、灰”五大仙家。五仙有恩必赏，有仇必报，东北话说就是“护犊子”。所以五仙又被称为“保家仙”。出马仙是和仙家结缘的人，世代供奉，能与仙家沟通，用仙家的力量治病救人积德行善。仙家和出马仙一般会缔结契约，同生共死。五大保家仙中，又以狐家的胡三太奶为大，法力最强，最重情重义。民国年间，东北深山里的马家屯就传闻一直受胡三太奶庇佑。但有村民为钱财上山盗了胡家世代守护的祖坟，掏了狐狸窝，触怒了狐仙一族。之后村里开始发生各种邪乎事，村里的男人陆续惨死，女人被凌辱虐待。村里请了出马仙来做法，万物有灵，到底是狐仙可怕，还是人心更可怕……
回复 :金兵侵宋, 身负重伤的宋国将军嘱其女孟红, 爱徒王天龙及范天虎务必把两枚玉玺送到宋室康王手上, 匡扶宋室. 金国走狗完颜鹤利用江湖中人夺取玉玺以免康王即位, 不断向孟、王及范三人软硬兼施, 最终三人不惜与完掌握的 "风云堂" 决一死战!
回复 :和你走到最后就是我最大的愿望。大大咧咧的夏末（徐若晗 饰）和温润内敛的初秋（张开泰 饰）见证了彼此美好的青葱岁月，陪伴对方度过了很多难忘的瞬间，有青梅竹马的默契，有抵抗现实的勇气。他的爱意轰轰烈烈，她的喜欢坚定不移，或许真爱之路并不平坦，误解和错过一度让两个相爱的人走到分开的边缘。可是对的人，又怎么会走散呢？
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.