Critic Leonard Maltin describes "Three On A Match" as a "hard hitting example of forbidden Hollywood". That it is, no happy endings here, as this depression era film follows the rise and fall of childhood friends who get caught up in the seamy underworld of booze, drugs and gambling, ultimately trading places along the way. 　　The three friends are Mary Keaton Bernard (Joan Blondell), Vivian Revere Kirkwood (Ann Dvorak) and Ruth Wescott (Bette Davis), shown growing up between 1919 and 1932 as a montage of newspaper headlines place the story in a historical context. Blondell's character is a reform school standout, whose life experience puts her in a position to counsel a depressed and "fed up with everything" Vivian. Viv takes up with small time hood Mike Loftus (Lyle Talbot) after disappearing with her young son from a cruise ship. Loftus ingratiates himself with mobster Harve (Humphrey Bogart in a minor role) and his boss Ace (Edward Arnold) by going into debt for two grand. The desperate creep attempts to blackmail the boy's father, wealthy lawyer Robert Kirkwood (Warren William), but that plan heads south as the cops quickly close in. Vivian's resolution is one of the more depressing finales to a tale that realistically depicts a pair of unfortunate souls whose lives spiral completely out of control. 　　The film does have it's share of light moments; one of the newspaper clippings describes the new fashion trend in beachwear, a "brief" sun suit, ably modeled by Bette Davis. In stark contrast, Mr. Kirkwood's attire of choice is a business suit and tie while sitting under a beach umbrella, hard to work up a good tan that way. Davis' screen time is limited but effective, with a sit up and take notice scene where she's shown wearing just a slip early in the film, rather daring for the era and showing more skin than one might expect. 　　Warner Brothers/First National masterfully portrayed the down and out, seamy underside of life during the 1930's, '40's and '50's, tackling all manner of subjects in their movies. "Three On A Match" tells it's tale without a wasted moment, sometimes relying on scenes that only last a few seconds to move the story along. It's hard edged and no nonsense, all the more provocative for it's mature subject matter and realistic portrayals; highly recommended.

Critic Leonard Maltin describes "Three On A Match" as a "hard hitting example of forbidden Hollywood". That it is, no happy endings here, as this depression era film follows the rise and fall of childhood friends who get caught up in the seamy underworld of booze, drugs and gambling, ultimately trading places along the way. 　　The three friends are Mary Keaton Bernard (Joan Blondell), Vivian Revere Kirkwood (Ann Dvorak) and Ruth Wescott (Bette Davis), shown growing up between 1919 and 1932 as a montage of newspaper headlines place the story in a historical context. Blondell's character is a reform school standout, whose life experience puts her in a position to counsel a depressed and "fed up with everything" Vivian. Viv takes up with small time hood Mike Loftus (Lyle Talbot) after disappearing with her young son from a cruise ship. Loftus ingratiates himself with mobster Harve (Humphrey Bogart in a minor role) and his boss Ace (Edward Arnold) by going into debt for two grand. The desperate creep attempts to blackmail the boy's father, wealthy lawyer Robert Kirkwood (Warren William), but that plan heads south as the cops quickly close in. Vivian's resolution is one of the more depressing finales to a tale that realistically depicts a pair of unfortunate souls whose lives spiral completely out of control. 　　The film does have it's share of light moments; one of the newspaper clippings describes the new fashion trend in beachwear, a "brief" sun suit, ably modeled by Bette Davis. In stark contrast, Mr. Kirkwood's attire of choice is a business suit and tie while sitting under a beach umbrella, hard to work up a good tan that way. Davis' screen time is limited but effective, with a sit up and take notice scene where she's shown wearing just a slip early in the film, rather daring for the era and showing more skin than one might expect. 　　Warner Brothers/First National masterfully portrayed the down and out, seamy underside of life during the 1930's, '40's and '50's, tackling all manner of subjects in their movies. "Three On A Match" tells it's tale without a wasted moment, sometimes relying on scenes that only last a few seconds to move the story along. It's hard edged and no nonsense, all the more provocative for it's mature subject matter and realistic portrayals; highly recommended.

穿越至斗罗世界，男子成了圣魂村那不起眼的小屁孩，还意外觉醒了被众人视作废物的镰刀武魂。本想着紧紧抱住天命之子唐三的大腿，从此顺风顺水，却不想惨遭其唾弃与鄙视。后来又动了拜大师为师的念头，结果换来的却是无情嘲讽。受尽世间冷眼与屈辱，叶凡却从未有过放弃的念头。

穿越至斗罗世界，男子成了圣魂村那不起眼的小屁孩，还意外觉醒了被众人视作废物的镰刀武魂。本想着紧紧抱住天命之子唐三的大腿，从此顺风顺水，却不想惨遭其唾弃与鄙视。后来又动了拜大师为师的念头，结果换来的却是无情嘲讽。受尽世间冷眼与屈辱，叶凡却从未有过放弃的念头。

John深爱着同居的Mary，但抗拒被一纸婚书束缚，与Mary渴望有安定的家，生育BB的想法产生冲突；同时，Mary姐姐与John好友波牛两对夫妇的婚姻问题介入二人生活，令Mary决离家出走，做个未婚妈妈……

John深爱着同居的Mary，但抗拒被一纸婚书束缚，与Mary渴望有安定的家，生育BB的想法产生冲突；同时，Mary姐姐与John好友波牛两对夫妇的婚姻问题介入二人生活，令Mary决离家出走，做个未婚妈妈……

一代神王唐三，带着一点神识在宇宙中遨游，寻找妻子转世重生的世界。神王唐三的妻子小舞因病去世，唐三放弃万年修为和神王身份前往妖精大陆寻找能和小舞再续前缘的方法。在神识的牵引下，他来到了一个叫做妖精大陆的地方，而他却发现，这是一个人类为刍狗的世界……

男子本是现代一介凡人，一朝穿越，竟成了圆脸白莲，扎根于天莲山净世峰元莲洞天。为抢夺中品先天金鳞灵脉，他遭一群神兽围攻。凶兽虽难有灵智，可双拳难敌四手。那老兽皇竟使车轮战，他忍无可忍，祭出山河社稷图，阵法现，凶兽灭，神兽重伤。兽皇撂下狠话离去，男子知日后麻烦不断。当下借灵脉修炼，誓要突破至金仙大圆满，前往不周山，在这洪荒闯出一片天。