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
冲着首页这么多四星去看的，看完太失望了，幼稚且俗套无聊，笑点也特别尴尬，不要有几个动物就扯疯狂动物城好吗？水准差了十条街，适合小朋友看，但是当下家长敢冒险带着去影院吗？
AMC 预告片剪得太好。不敢相信会去看动画片。开头一段非常精彩，后面就是老套路，一碗过期鸡汤。梦工厂的配乐、画面和特效依旧是高水平发挥。我到底中了什么邪，会觉得Wolfe从头帅到尾，结尾看到Rockwell配音，难道被男神声音感染爱屋及乌？
#IMAX 很久没有在大银幕上看到打斗如此到位的警匪片了，近几年警匪片更追求一些没有意义的大场面，对正邪的设置也较为单一扁平。但这部对体制的批判，对人物的塑造都还是比较犀利的。就是不够深入，我有理由怀疑是审查的原因导致得诸多不足。不过近战风格那么凌厉的国产动作片确实少见，看爽了，结尾也懂得做减法，算是拉回了点文戏的不足。
三观再改一改绝对是满分的作品，打戏枪战让我梦回杀破狼，打得又惨又猛。帮主的确是有点双标了，阿邦又有点太疯了。幸好大部分罪有应得的都有报应了。
我的天 大坏狼是什么人格魅力 看得我全程傻笑
立意上把仇恨和责任归于个人确实不如拆弹专家2被制度和结构抛弃、陷害，但实际表现出来也还不错
整体就是两个字：可爱！故事简单但是很可爱（我不过分追求逻辑性与现实感），从良的主人公们也好可爱，尤其是大灰狼，大长腿+西服让我想起我Brandon了，而且Sam的声音好苏……整部电影的视听都挺喜欢的，追车的动作戏真流畅，配乐也很适合。可能太久没在电影院看电影了，我真的很享受…就是不知道为什么坐后排的大哥睡着了，呼噜震天响。。
一部动画片该有的它都有 真正的全年龄观影 叙事节奏略显拖沓但充满趣味的镜头不会让人感到特别无聊 福瑞控的狂欢（不是）
非常类型片，Richard的配音太有辨识度了，以及大反派真的都是英音~食人鱼真是超可爱~
很久没在电影院看到这么令人心情愉悦的电影了，被大灰狼迷得不行了，真的太可爱了！/5.1
有谁会不爱一只会脸红，又会摇尾巴的大坏狼呢呜呜呜
中规中矩的动画电影，配乐加一⭐
三星半。很不错的动画片，内容上是对很多经典影片的揉合以及致敬，反套路点子虽然能被预想到但还是能带来点惊喜，其实环球还是小黄人的套路，并不追求新颖创造性的的剧情，而是用人物形象以及夸张带感的动作设计带动观众情绪，对于动画片来说也无可厚非，能够让观众开心就好啦
其实对香港警匪片这个类型来说无非是又一次套路创作，但这类90年代的标准港片大制作现在却显得很稀缺
画风很好笑，鲨鱼先生超级蠢萌。故事基本上是《11罗汉》类型的大盗电影，但角色设计适合小朋友，并依然有很多动作戏，加上节奏很快，估计很多成人观众会更喜欢。
不复杂的故事，连续的对抗动作，大场面的火力释放，找回港片的味道。
梦工厂的动物版Despicable Me（小 心 furry 控）。犬科动物赛高~crimson paw是什么天作尤物🥰 072422
本片与疯狂动物城的差距，也就是梦工厂与迪士尼的差距。故事相对中规中矩，角色设计稍微低幼了点，缺乏特色。
1.港片这么多年了还这样，暴躁警察，刑讯逼供，黑警，官匪勾结，飙车爆炸，孤胆英雄，铁血警察、柔弱妻子……剧情俗套的仿佛仿佛二十年前的流水线作品，吐槽无力。
🦊女州长的家跟她的身手一样酷炫
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