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
反派其实挺可怜的 被父母外婆虐待
昨晚看了，是真的很无聊的一部续集，整部下来就是一个人的自言自语 然后自言自语生了个儿子 儿子打老子没打过 就结束了。 跟1没得比！
难看，胡编乱造的蠢电影，毫无新意的特效和动作场景，被无意义的斗嘴喧宾夺主，关键是，还不好笑。实在看不出这一部续集有什么存在的必要，刷新漫威超英电影下限。
别说cinema，这捏吗连movie都算不了了。（要不是不花钱我才😅）
主要是第一部就特别不喜欢预期拉得暴低，这一部冲伍迪哈里森的邪魅表演倒没觉得那么难看，反正就依然是预算有限不思进取继续挥霍设定的平庸续作呗，找了两个相互克制的反派也是挺迷的，结局也比较坑爹。。至于彩蛋，我只想说不要辜负大家的期待吧。
天生杀人狂里的伍迪.哈里森比这里面的人包括他自己演的那个蠢反派都正常可爱多了。
片尾曲好听，剧情十分弱智，全片吐吐槽打打嘴炮玩玩老梗组组cp，不知道的还以为和沙赞似的，老少皆宜，童叟无欺，毒液完全就是鲨鱼王的智商水平。整部电影感觉就一集美剧的体量，实在有损毒液威名。打斗戏的特效还是不错的，但是因为是pg13，不血腥不暴力，根本不过瘾。啃个人头都是一剪没，寄生兽都R级大片了，这种不拍个像死侍那种的根本对不起毒液那张脸，最后彩蛋料想了一定会和小蜘蛛联动。安迪瑟金斯是个顶级动捕演员却不该去当导演，毕竟术业有专攻。
感觉上全程很紧凑的把故事讲完，但是就是喜欢不起来。
八十分钟看了个der？全片好看的只有最后彩蛋。漫威情节已经不是向低龄靠拢了，这是在向智障靠拢。
天生杀人狂里的伍迪.哈里森比这里面的人包括他自己演的那个蠢反派都正常可爱多了。
毫无长进，毫无新意，剧情敷衍。为了敷衍特效大段大段的夜晚场景，索尼想搞自己的蜘蛛侠宇宙也麻烦用点心。
作为一个爆米花电影挺好的呀，打个4星拉拉分
继承了第1步的嘴炮，但是没有继承其他优点。故事也是炒冷饭和第1部都差不多，反派屠杀智商堪忧。片长也略短，感觉只是讲第1部没有讲完的故事。或者说应该是第1步的后半段剪辑出来的。直到看到片尾彩蛋哇才知道了这部影片的意义，小蜘蛛终于要现身了，是要和MCU对接了吗？
V2依旧是爽片的代表，毒液字正腔圆的晚上好陈太，自从导演官方玩出柜梗后各种毒埃cp同人作品再次爆发，传下去**是0。伍迪哈里森贡献了令人印象深刻的暴虐压迫感。90分钟标准恐怖片时长是有些意犹未尽，但是未来充满无限可能彩蛋爆炸！就等莱托的莫比亚斯了，索尼终究是抱上漫威大腿了，毕竟清楚自己能力和限制玩不转。主题曲好听
屠杀真心被削弱了，漫画里可是战力天花板，狠到小虫找毒液帮忙，狠到团灭复联，电影太短了，屠杀的发展空间大大下降，剧情经不起推敲，不过安迪瑟金斯的执导下，动捕效果很不错，尾声的彩蛋无疑是剧透了小虫3的平行宇宙概念，索尼的蜘蛛宇宙雏形已经出来了，虽然剧情一锅糊，看看特效也是一种欣赏，这次的毒液共生体真忙。
不会真有人觉得好看吧？简直花木兰水平，说它是个电影都昧良心
反派来的太敷衍了，说变就变。
6分，imdb6分，mtc48分，这样看来这部电影倒也算是马马虎虎。我也觉得这电影谈不上有什么槽点，但确实是没有亮点。这就是那种平平无奇拍出来除了圈粉丝钱就没啥意义的电影，以至于片尾彩蛋反而成了电影最闪耀的时刻。
将个烂就，汤老师多久没演西装暴徒了，什么时候安排一下？
滑稽闹剧，索尼差不多适可而止了。看彩蛋应该是也穿越到MCU了。
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