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
陪宝宝看的电影 小宝在里面学会傻瓜这个词 总的来说 还挺欢乐的
已经看过了，刚又看了国语的预告，我的妈，太难听了，还是英文的比较适合这种幽默的动画，并没有什么别的意思，只是觉得英文更贴脸，
这种种伏笔让人非常期待第二部的解密，虽然我根本不想再看第二部了……
设定可以，但是故事有BUG，女主表演加一星
最后才揭秘，全剧最大的坏蛋是一只白色的很萌的狗狗。喜剧片的大结局都是Happy ending。
语言: 汉语普通话
呵呵呵，身残志坚已经无法形容了。。。瞎了都能单挑战狼。。。编剧真敢写，导演真敢拍，盲人拆弹专家，小学时看的拆弹情节2022年还拿来用真的侮辱智商，红蓝线剪一根拆弹老传统了。
《硬汉枪神》后国内网大又一标杆，比《误杀》好看，除了男主夜魔侠附体，整体槽点不大。即使剧情偏弱但动作设计可以值回六块。比《边缘行者》强出很多。
就冲着开头安志杰和匪徒手握（手累还是闪光弹累着）人都震晕了手安然无恙。我给出一颗星
太扯淡了，炸弹没炸死，只变瞎了，比夜魔侠都猛
之前看预告剪辑还觉得可以一看，一看才知道原来也就那点儿能看
现在网大电影都能拍的这样了吗.《夜魔侠》+《飓风营救》+《贪狼》水准不逊色某些院线电影.
被片名耽误的好动画(看这片名还以为是学龄前儿童专属)制作牛掰，剧情也不拉垮，最重要的是！甜甜圈们也太可爱啦呜呜呜~
看得出电影拍得比较辛苦，而且电影剧本虽然简单但也扎实，安志杰也保证了动作的观赏性。但是各种人物粉墨登场之后却显得表演有些用力过猛，生怕自己早期的创伤和内心的扭曲和阴暗不被人们觉察而都写在了脸上，甚至连沉默羔羊里的面罩都用上了，这部分实在让人感到有点尴尬。不过不管怎样，在甄子丹都渐渐老去的现在，安志杰能够有这样的创作还是令人有些期待的，希望属于他的黄金时代可以到来。
2颗星给画面效果和配音，剧情太烂了，首先前期对两个主角不合群的背景交代很模糊，以至整个故事一点都不流畅，而后来那只狗突然180度大反转，这种反差感对孩子来说太不友好了，严重怀疑导演或编剧心理扭曲。
反派太中二了，油腻偏分，表情用力过猛邪魅狂狷，但是服装和台词完全撑不起人设。没有功底够硬的演员就别演这种疯癫的角色。
四星吧，全程还以为那只傻鸟是来捣乱的，看到最后也算是帮了个大忙吧，不过小白反转的时候，真的有被惊到。说真的，中间看到类似孔雀的物种开导灰色甜甜圈的时候，就觉得这俩应该在一起，没想到最后还生了个蛋，应该会有续集的吧。整体观影感觉还是不错的，支持一下。
这质感还可以~
故事简单，节奏紧凑，动作戏看的过，杨杏的疯子女反派很亮眼。
动作片就该是这样的水准，打斗场面居多，不像那些电影打一会儿还要谈一会儿恋爱好像才合理
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