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
啦啦啦 低成本 小制作 。中二搞笑的少女。
没啥好看的，还拍这么长……剧情按部就班毫无意外，动作和特效都还行但是没啥亮点，丧尸的设定也一点点作用都没起到，这样的话，跟同类片比起来就更加一般了。
很喜欢画风和色系 就是内容有点无聊 ớ ₃ờ
摄影、美术依旧扎味。前传故事应该放到美国，欧洲游毫无意义。
开保险柜也太简单了，就是听啊，三次开柜基本就是重复。竟然是活死人前传，有点小惊喜，但是开锁情节除了介绍神话故事挺吸引人，其他的都是俗套
第一次觉得黑人女演员好看的。发型变了七八次和男主甜甜的恋爱小金刚狼嫉妒。小男一一拳打男二脸上和挠痒痒一样结果自己手受伤老招笑了。好吧和强盗没啥关系反正一路拧圈圈没什么新鲜。
不管是动作戏还是故事都不太行，但高石明里很可爱。
不太爽的爽片，还神偷军团……溃不成军好不啦……
看肌肉男看到呆（两次诶!）的直男你见过吗？
全凭假金刚狼出戏，一直怕他伸出钢爪，其他的，就算了，懒得提
赶脚只要和扎克斯奈德搭上关系，就不会有什么好下场，本片的节奏也是属于娱乐片里比较缓慢的，故事大都是在不急不缓中进行，最大的坏处就是高潮戏份始终不见，就算结局处也是一溜平缓，毫无波澜😑
劇情簡單，精彩度欠佳。不過畢竟是我小馬哥自導自演，恭喜成為國際大導！
我看过的第1381部电影，《神偷军团》我给6.4分。
也就一般般而已，没什么大场面，没什么惊心动魄，没什么解密解码，著名的保险柜转几圈就开了。这尼玛是开了外挂吧？也就能将就着看看而已
倒是还能看。开锁佬自导自演，喜剧向带爱情线，用4个传奇保险箱的设定串上<活死人军团>，解释了他后来毫不犹豫join in的动机和理由，最后也在开完“诸神的黄昏”后死在门外。就是有扎导，片长总是不太受控。（女二是<极线杀手>里和拔叔xx的那位）
感觉平平无奇，开保险柜这个噱头一部电影用三次就很无趣了
只要一个听诊器就能开的保险箱，看不出哪里牛逼了。。。更别说傻不啦叽的反派了
很是无聊 平淡 听片名感觉很有意思很是刺激又聪明的一个团队 然后完成一个大爽片 但其实很无聊 平淡
又是一个可以但没必要的电影，现在但凡有点观众缘的角色都流行拍外传前传了么？话说那开锁的镜头真的差点看睡着啊…
看过最蠢的偷盗片，大费周章潜入银行开保险箱只是为了挑战难度，网飞拍得不一定烂，大投入必定烂
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