Story follows the divergent agendas of criminals, cops and lawyers as they collide over a shipment of illegal firearms and a double homicide. Earl Pike, a criminal, tries to get his family's illegal gun collection to a safe haven.

Story follows the divergent agendas of criminals, cops and lawyers as they collide over a shipment of illegal firearms and a double homicide. Earl Pike, a criminal, tries to get his family's illegal gun collection to a safe haven.

"Jacques Tourneur at work in color on Western landscapes is something to behold. The credits roll over a matte of a damp day in Portland (slanting rooftops, a ship’s half-seen mast, boards over a muddy street) that’s practically a Grafström, the Oregon Trail that follows is finely-drawn watercolor. The nascent commune of Jacksonville would be Fordian, except that Dana Andrews’ negation of piety ("A man can choose his own gods") and Andy Devine’s acknowledgement of Indian rights ("We’re on their land. They ain’t likely to forget that") challenge Manifest Destiny. Overlapping triangles -- Andrews-Susan Hayward-Patricia Roc, Andrews-Hayward-Brian Donlevy, Andrews-Roc-Victor Cutler, Hayward-Donlevy-Rose Hobart. Hoagy Carmichael with mandolin amid the ramblers and settlers is wastrel, commentator, mediator, and voyeur ("...a little store and lots of time"). The cabin-rising sequence tips its hat to Hathaway’s Trail of the Lonesome Pine, and was studied by Weir. The wedding bash celebrates wholeness but these are forces in tenuous balance, Donlevy voices Tourneur’s ambivalence ("The illusion of peace is upon it") moments before the Indians materialize via a single reverse shot that seems to introduce a parallel world. Another space-expanding reverse shot, this time embodying tensions from within rather than from without, takes place right before Andrews’ brawl with Ward Bond, cutting from a medium-shot of the two at the saloon counter to another revealing the townspeople in the wings, waiting for the spectacle. (The fight, remarkably bloody and ugly, hinges on the haunted image of the disoriented Bond smashing his fist into a wooden pole. Hayward sits with the cheering crowd.) A film of "thin margins": The saloon doubles as a hanging courtroom, the garden becomes an inferno. The view of a dazed Roc wandering in the woods after the slaughter is from I Walked with a Zombie, and finds its way into Demme’s Beloved; Stars in My Crown revisits the territory with hope for harmony, but Wichita and Great Day in the Morning know better."

"Jacques Tourneur at work in color on Western landscapes is something to behold. The credits roll over a matte of a damp day in Portland (slanting rooftops, a ship’s half-seen mast, boards over a muddy street) that’s practically a Grafström, the Oregon Trail that follows is finely-drawn watercolor. The nascent commune of Jacksonville would be Fordian, except that Dana Andrews’ negation of piety ("A man can choose his own gods") and Andy Devine’s acknowledgement of Indian rights ("We’re on their land. They ain’t likely to forget that") challenge Manifest Destiny. Overlapping triangles -- Andrews-Susan Hayward-Patricia Roc, Andrews-Hayward-Brian Donlevy, Andrews-Roc-Victor Cutler, Hayward-Donlevy-Rose Hobart. Hoagy Carmichael with mandolin amid the ramblers and settlers is wastrel, commentator, mediator, and voyeur ("...a little store and lots of time"). The cabin-rising sequence tips its hat to Hathaway’s Trail of the Lonesome Pine, and was studied by Weir. The wedding bash celebrates wholeness but these are forces in tenuous balance, Donlevy voices Tourneur’s ambivalence ("The illusion of peace is upon it") moments before the Indians materialize via a single reverse shot that seems to introduce a parallel world. Another space-expanding reverse shot, this time embodying tensions from within rather than from without, takes place right before Andrews’ brawl with Ward Bond, cutting from a medium-shot of the two at the saloon counter to another revealing the townspeople in the wings, waiting for the spectacle. (The fight, remarkably bloody and ugly, hinges on the haunted image of the disoriented Bond smashing his fist into a wooden pole. Hayward sits with the cheering crowd.) A film of "thin margins": The saloon doubles as a hanging courtroom, the garden becomes an inferno. The view of a dazed Roc wandering in the woods after the slaughter is from I Walked with a Zombie, and finds its way into Demme’s Beloved; Stars in My Crown revisits the territory with hope for harmony, but Wichita and Great Day in the Morning know better."

老手与菜鸟飞机师驾驶的是中央情报秘密行机，运载东西更是包罗万有，从难民到军阀，从手榴弹到小猪，真是无奇不有。

老手与菜鸟飞机师驾驶的是中央情报秘密行机，运载东西更是包罗万有，从难民到军阀，从手榴弹到小猪，真是无奇不有。

胜美离婚当天，与同事兼好友的昭熙喝得大醉，碰巧遇到旁边桌上喝酒的李陈，不想其竟是胜美的初恋，旧爱重逢，让两人沉浸在过去的美好回忆当中，一边喝酒一边聊天，忘记了时间的存在，最后李陈送胜美回家，二人缠绵在一起，而此时的李陈已经有了未婚妻，激情过后，二人不得不面对现实

胜美离婚当天，与同事兼好友的昭熙喝得大醉，碰巧遇到旁边桌上喝酒的李陈，不想其竟是胜美的初恋，旧爱重逢，让两人沉浸在过去的美好回忆当中，一边喝酒一边聊天，忘记了时间的存在，最后李陈送胜美回家，二人缠绵在一起，而此时的李陈已经有了未婚妻，激情过后，二人不得不面对现实

星云航空王牌女飞行员鹿灵职场失意、生活低谷时，恰逢新任总裁岑屹楼履新，二人结下奇妙缘分。鹿灵发现岑屹楼似心中男神且对她钟情，后成其副驾驶，在飞行任务中并肩作战，感情升温。

星云航空王牌女飞行员鹿灵职场失意、生活低谷时，恰逢新任总裁岑屹楼履新，二人结下奇妙缘分。鹿灵发现岑屹楼似心中男神且对她钟情，后成其副驾驶，在飞行任务中并肩作战，感情升温。