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
很工整的一部励志片，整体七平八稳，励志片的一些点都有了，不过没有啥亮点
m22112：笑中带泪。串联巴黎圣母院和阿汤哥，有趣。爱情浪漫！
篮球也就那么回事，但是这个运动员真的好帅啊救命，但凡在联盟里打得出彩点都可以粉一粉的程度（不是）
蛮不错的下三路沙雕喜剧，好笑就行了……就别较真了。
屎尿屁段子合集，独有的法式幽默，有的桥段确实挺搞笑。神来之笔应该是电影片场大战，只可惜篇幅太少了。
好笑的 最后山寨漫威真的笑死！ 但法国喜剧这种轻忽痛感的方式有点不舒服，忍不住想发问那么摔一下真的不断胳膊断腿吗
对熟知各个超级英雄的观众来说真是太爆笑了哈哈哈哈哈哈！！！搞笑程度远超很多致敬梗的《Guy》啊！！！我从没想到一部法国电影能戳中我这么多的笑点！！！
每一个篮球迷看了都会喜欢的片子，篮球题材终于有一部拿得出手的励志片了
有点反套路，一些超级英雄的梗也很搞笑，虽然缺乏逻辑，但是无伤大雅，最后面关于女朋友的身份反转的还算有意思
献给篮球的一首诗，波士顿的小伙子们加油吧。
很惊喜啊
但是影片里后面找Laure，发现他就是前任，然后两人复合，这就有点太牵强了，而且电影78分钟正片还有很多没打磨好，不过每位配角的桥段都很好笑，特别是父亲警局桥段。
不得不说电影里有很多夸张的场面，战衣上的投影技术是怎么做到的，Laure被撞来撞去都没事，直接安然无恙。
《海扁王》，《超级英雄》
励志片。桑切斯出差和大高个日常训练的两段剪辑不错。若是篮球迷应该感觉挺燃挺High，N多篮球明星客串。我是一个都叫不上名。
有点早年歇斯底里的白头神探感觉，是那个味儿。老鹰叼小孩，倒挂接吻，汤姆克鲁斯片场中枪的屁股，戏谑轻松。
I love France! 全程高能！对于漫威、DC一众美国超级英雄的消解，还有迷影的彩蛋、“乳法”的玩梗。太爱这部了，感觉可以入选我今年十佳（好久没有喜剧电影入选了）。
一般吧，没有特别搞笑，有点刻意，可看可不看
很工整的一部励志片，整体七平八稳，励志片的一些点都有了，不过没有啥亮点
唯一的败笔就是非得爱情圆满一下，圣母院被炸掉的时候，很难不笑出声，这样的娱乐精神，到了我们这儿估计又是扣娱乐至死的帽子
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