影片《不做有钱人》通过讲述男主人翁有财家庭富庶，生化在奶奶的庇护下过着衣来伸手饭来张口生活，生化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！
洪爱莉
回复 :格斗高手安宇焕因一个神秘箱子的意外丢失，卷入了一场黑吃黑的纷争当中。嗜血如麻的黑帮杀手与他开始了一场你追我逐的亡命追杀，为解救相依为命的妹妹，安宇焕赤手空拳以一敌百，以自己的生命为赌注，迎来与黑帮老大的决一死战。这一次，安宇焕决定用自己的拳头去讨回最纯粹的公道，为正义而战！
张迪
回复 : 少年李莲英（梁思浩饰）带着未净干净身的秘密入宫，偶然让宫女冬青发现自己的秘密，二人于是暗结珠胎。遇上了自己喜爱的女人，同时也遇上了自己的死敌大太监安德海。凭着自己的聪明伶俐，李莲英很快被安排去侍候年少的皇上同治（宋本中饰），二人每天嬉戏打闹，还去偷窥同治暗恋的宫女桂莲（翁虹饰）沐浴。严厉的慈禧无法容忍儿子的荒唐行为，又在宠臣安德海的怂恿下，同治不得不在她安排下选秀女。在选秀女当天，同治又违背母后的意愿选了蒙古女子为皇后，大怒的慈禧还有心怀鬼胎的安德海到底会如何整治同治与李莲英呢？
玄武
回复 :Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy...Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time.Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958.Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading.Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.
