Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.
The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).
The title music sets the tone: a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.
The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.
Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.
Roger Philip Mellor
《超能失控》以及《阿基拉》的段位
虽然沙雕还有些恶俗，但内核挺温馨哒(=^▽^=)
俗套电影，NBA资深球迷必看，好多梗不是球迷看不懂，博班22，AI不训练等等。
蛮好笑的，尤其是恶搞各路超级英雄，女记者神似石头姐。
也可能单纯不在我的笑点上
演员车祸失忆，以为自己是超级英雄。老爸是即将退休的警察，有个劫匪要杀他。两条线合流，父子和解。反转了一个爱情，路上偶遇的其实是女友。好多超英电影梗。
荒诞得一批 导演还是可以的 这么多年了 整活儿的心在飞扬
胡安在nba排不上号，但是相比于普通人已经很励志了，电影剧情是老套了些，但是拍的很热血，这可能就是属于年轻人的朝气吧。附：AI胖的我都没认出来🤣
反超英雄片，感觉像看了一集加长版黑袍纠察队
吸尘器广告植入是真的牛逼
中规中矩的那种年货体育励志篇。各种意义上的工整但平庸，可以提前猜到各种剧情套路和起承转合，可能对篮球爱好者有额外加分吧。
虽然没啥高深立意，段子设置还是堪称独具匠心了。结尾屌丝抱得美人归，多好。
哈哈哈哈哈哈，真的笑死了，各种恶搞，蝙蝠侠，蜘蛛侠，复仇者联盟，碟中谍，x战警各种恶搞一遍，法式幽默，全片还贡献了三段还不错的动作戏，推荐，我真的太喜欢菲利普拉肖了，他的电影必看
笑到发出鹅叫，漫威DC的精髓都学到了，哈哈
没事看着玩还是ok的
恶搞超级英雄的那几个桥段真是看的乐哈哈，片子尺度也挺大的，时不时的会有感觉蛋蛋的忧伤😜
今年看过最有意思的电影，这狗电影笑死我了。
看到叉汉子梗的部分笑死我。另外怎么欧美白男为何永远在解决daddy issues啦。（BGM好几次太同人作了xs）发现老爷没披风的造型（。）太他妈像马律师了（你够了
超级英雄的梗很多，主体是屎尿屁。现在很难被这种片娱乐到了，不是片的问题，是我的问题。
我只能说很遗憾亚当桑德勒没能贡献《原钻》中的精彩表演，甚至辞职那点都演的平平淡淡的，我有点失望
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