lzm3u8
剧情简介
多萝西自称天才欺诈师，邀请洛朗·蒂埃里进入游戏世界。在与上海龙虎帮的博弈中失败，她失去了性命……应该的。在海边的小村庄，离亚洲城市台北不远的地方，有她的身影。被台北的地下社会追赶，以京都为目标，前方等待着的是……!?
猜你喜欢
- 1.1分
HD重生后成了霸总白月光
在一个月黑风高的夜晚，武警战士李指导正带领黑色的“拉布拉多”搜救犬天使执行搜救任务，在翻越一处悬崖的时候，天使不幸摔了下去。李指导找遍了所有的地方，最后也没有发现天使，只好放弃。当时，他还不知道其实天使已经怀孕了。天使从悬崖上摔下来的一瞬间，尽管她的腿严重受伤，但是，她机灵地用嘴巴紧紧咬住了一根悬崖上的藤条，所以，当李指导呼唤她的时候，她无法回应自己的主人了。就这样，天使在野外艰难地生活着，她在为肚子里自己的小宝宝而活着。最后，天使生下了两条小狗，但是只存活了一条，这就是本片的主人公——阿虎。天使在耗尽了最后的一点气力之后，牺牲了……
- 3.8分
HD新版：闪婚老公是大佬
大内库藏武功秘笈《葵花宝典》失窃。东厂主管太监古今福（刘洵 饰）率千户欧阳全（张学友 饰）等，南下调查辞官锦衣卫林镇南，同时收用“五岳盟主”左冷禅（元华 饰）外围策应。华山派大弟子令狐冲（许冠杰 饰）与师妹岳灵珊（叶童 饰）奉师命增援林镇南，无奈两人实力不济，领得林镇南遗嘱后遁走，二人于路先后巧遇顺风堂堂主刘正风（午马 饰）、日月神教长老曲洋（林正英 饰）、华山派风清扬，获传《笑傲江湖》曲谱和独孤九剑。 各路人马为《葵花宝典》纷纷聚于苗人地界，欧阳全与左冷禅争功不下，遂假扮林平之混入华山派一行。令狐冲结识日月神教任盈盈（张敏 饰）与蓝凤凰（袁洁莹 饰），因曲洋之关系得其协助。古今福与岳不群为《葵花宝典》大打出手，令狐冲不忍一班师兄弟受牵连愤而使出独孤九剑，始明了“笑傲江湖”真意。 本片根据金庸同名小说改编。
- 1.4分
HD捂紧我的小马甲
Kōji Shiraishi, who became famous for extraordinary horror films like "Noroi", shot this modern pinku eiga as a revenant of sorts of the classic Japanese soft sex flick, which saw its heyday in the 1970s and ’80s. Underground idol Misa is headhunted by a BDSM club for her supposed—or rather, anticipated—talents as a dominatrix. Seeing the prospect as a challenge at first, the young woman soon uses the S&M sessions to expand her erotic and sexual self-perception by several dimensions at once. "Safe Word" is part of Roman Porno Now, a project by legendary Japanese studio Nikkatsu celebrating the fiftieth anniversary of its “Nikkatsu Roman Porno” brand. 源自：
- 6.9分
![火线狙击[电影解说]](https://img.guangsuimage.com/cover/761e0da615401088ed62e4aaf92fba08.jpg)
HD火线狙击[电影解说]
A glance leads to a smile, a smile to a rendezvous: every love story begins the same way. These narratives are stored in songs and poems and live on beyond their inevitable endings, as Shakespeare’s titular sonnet 18 also suggests. In Mohammad Shawky Hassan’s metafictional essay, a female narrator who wishes to tell the story of a love between two men encounters a polyamorous chorus of lovers, and this oft-told tale is multiplied. In Club Scheherazade, there is no protagonist, and every song has various versions. Heteronormative dramaturgy is challenged polyphonically and across a range of media: lovers ask each other about threesomes, Grindr contacts and past dates. Pop clichés are twisted, heartache permeates the men’s singing, and poems by Wadih Saadeh are read out while a lover’s dirty laundry is aired. The narrator mischievously tries for a happy ending as her characters exit the story. “If pain could be forgotten through words,” we hear at one point, “no lover would ever have to walk away wounded.”
