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
个人觉得比第一部好一点。水下迷城设计不错。最后金色索尼克有点白悟空感觉了
总体来说挺有看头的，不管是题材还是情节，惊险刺激鲜有尿点，另外就是男主真的蛮帅的，具冷静+英勇+智慧+真情，值得一看。
还是挺期待后续的，没玩通关游戏，给自己的童年补上音速小子的缺
虽然我没怎么玩过游戏但是最后的超级赛亚人太出戏了
两星半，初衷是让合家观赏了解电信诈骗，然鹅晚饭后我刚教他们如何进行人脸支付……
故事和特效都蛮好也有喜剧的点
就是冲着金凯瑞去的，虽说有些低幼，不过还是很好笑，除了那位一头秀发低胸露肩的黑人女性有点跳戏之外！
有太多熟悉的影子，死侍同款碎嘴，奇异博士的技能戒指，快银的速度，“反浩克战甲”，现实宝石……玩的就是超级英雄那套，最后好像还整了个超级赛亚人？
比第一部好看，虽然太贫了可是更逗了，唯一不太好的就是有点儿太幼稚！合家欢电影！
这部剧可以缩减到四十分钟。两个小时拍出来的剧情完全可以在打斗中几句话说明白。
韩国的现实题材真的不赖，第一次知道电话诈骗背后最值钱的是剧本哈哈哈。节奏也很准，中规中矩。
融了那么多梗的电影 有点心疼金凯瑞 有点理解 星爷为什么不想再演戏了
派拉蒙能拍第二部，看来还是挺有钱的，而且似乎还能拍第三部。
比较低龄化的动画了，这是疯狂涌入漫威的元素吗？七合一翡翠，反浩克装甲？还有最后的借鉴的是惊奇队长还是超级赛亚人？
剧情整体挺流畅的，就是韩国警察都是摆设，还要靠前职警察去抓人吗
可以理解为就是完全娱乐化PG13的作品，看着乐一小会儿
西安和沈阳 还有一两句蹩脚的中文 是个啥？
没有一好看，然而还有三。这是强迫症影迷不得不追的N步曲啊。
超级好看的！比1好看太多太多了，knuckles的加入让剧情有意思多了，而且它好有梗！！假冒婚礼也非常搞笑！索尼克的设定还是一样无聊
楚门没有让我们失望，刺猬嘛，爆米花挺好吃。
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