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
这是一个本可以拍得更好的动画片。网飞所有的片子都是本能拍得更好。他们永远都差了点意思。为了不让我看出谁是杰洛特，他们让他变成了秃子。
太tm精彩了，中年夫妻的危机啊。债务，出轨，彼此恶心，都想干死对方骗保。男的还忽悠园丁过来当帮手，三个蠢贼误跑入度假小屋，壮男在屋顶还拉了一泡，还落到老大嘴里了，反转反转再反转，男主差点被爆菊。后20分钟刀刀见血，太残暴了。这就是奥斯卡的节奏啊，爆头必须爆头。男女主靠着编故事居然反转赚了好多。编剧高实在是高。
原来维瑟米尔老头儿年轻时这么帅的吗，他和伊利亚娜之间的感情真的很浪漫……说实话以为维瑟米尔和那个术士会看在塑料战友情上相互理解一下的，不过想想凯尔莫罕后来啥样好像也不太可能。
故事本身挺值得挖掘的，有阴谋、成长、执念、认同等等，但叙事节奏和表演很成问题。节奏很赶，没有什么喘息的空间，配音表演基本从头到尾一个语调，情绪的表达几乎没有，看着令人犯困。
既然有重要的洗澡的戏份，那就还算不错哦~但整体表现非常一般，故事没讲好，打斗也不过瘾。
杰洛特在刚通过试炼的时候竟然是个吴克😂
整体还是很干脆利落的，动作设计很棒，但明显有头重脚轻的感觉，后期太草草结束了
骗人作局赚钱怎么看都不是狼派作风吧（自主研发怪物倒是符合），鼓励有仇报仇好歹找对人再报，为什么一定要找凯尔莫罕麻烦呢…？维爹肯定是真把杰洛特当儿子培养的，洗澡姿势都一模一样
作为维瑟米尔的故事一定程度弥补了剧集动作场面的不足，且作为巫师粉丝向的动画电影已经足够了，很让人满足。
在深夜反击战开始后，开始变的成为低级趣味血浆片了，为什么不拿枪换弹躲衣柜！为什么不抢枪就年迈老父亲！最后的结尾让我想起了著名爱情理论家顾里的经典名言：没有物质的爱情就是一盘散沙。
剧情很普通，但演出很出彩。台词很中二，但氛围还是渲染得惊心动魄。
没事的时候，看看这样的片子真的是挺轻松的。两夫妻的矛盾居然上升到要杀掉对方，而且都是做了周密的计划步入实施阶段。看这个简介，我就觉得挺有意思的。打开电影，令我惊喜的是没有想到还是一部黑色幽默，一个个反转的到来，应接不暇，又觉得不算太硬。然后让我惊讶的是，一部喜剧片居然有那么多得血浆横飞的场面。而且两个普通人，居然那么耐打，越打越勇，更多的时候，不应该是两个普通人就被打怕了，屈服了，不敢再反抗了吗？总归还是一部美好的爱的主旋律电影，最后是一个happyending。
There will always be another monster. 啊这个画风。超爱BGM和歌。甚至觉得剧版的搞成这种动画形式的也不是不可呀！
转折不断寓意深刻的电影，但是感觉具体情节非常违和。一般欧美电影都有一个废物女二之类只会哭喊尖叫，本片这个角色被电晕之后（感觉换了一个人）的男主担当，从此全程废物坑老婆坑老爹（不知道为什么我脑子里跳出来的是女主带资进组惹不起，然后乱改剧情）。期待我们肖导演肖主演翻拍去打原片脸（他翻拍的除了人潮汹涌其他都不错）
这不比国内动画强百倍，我没看原著，不是什么粉丝，单从电影角度看，是个佳作，贵在真实，贵在情节合理符合逻辑，贵在镜头运用巧妙
电影的题材，和开篇那种带点无厘头的几次反转还是挺有意思的，细节做的也不错，带点反套路，笑点虽然不算搞笑，但也还挺有意思，不过剧情进入后半段就变得越来越套路了，夫妻慢慢醒悟，联手干掉匪徒，血腥味越来越浓，无厘头味却越来越淡，笑点也没有了，变成了普普通通的套路剧情，前后两部分的风格割裂的像是两部电影，前面是无厘头，后面是正经的血浆电影，夫妻不和到想杀对方本来就很黑色幽默，从三个匪徒出现，其实可以将黑色幽默一直延续下去，设计更多的人物不停的加入，让事件越来越失控，最后妻子也没拉丈夫上来，电影却选择了最保守，最无聊，也最不喜剧的方式讲完了下半部电影，使电影变成了普普通通的爆米花电影
整个故事的框架还是挺不错的，特别是结局，挺搞笑和讽刺，有一星是给这个结局的。
标准的Netflix美漫画风，尚可的剧情，朴素的善恶观，还有不错血腥和打斗。
十分好看的独立猎魔人故事，喜爱小说和游戏的人一定会超级喜欢
果然一脉相承性情人，吻老去的爱人实在太棒了
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