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
有点想法但是没拍好，还有什么时候乌漆麻黑的场景成鬼片标配了，亮一点是不吓人了吗？
还不如TVB的电视剧，结尾反转勉强算是亮点吧
恶俗却没有太多不适感、宫藤官九郎尺度把握的不错
如果电影同样有警醒世人的作用，那便是，不要随便以身试验闯凶宅。
9月11日看9月10日的集体杀人事件，零点以后看完，拼凑出来的情节脉络让我稀里糊涂的
哇我上一次看到这么离谱的电影可能还是赤道吧！鲍起静上一秒还对方中信恨得咬牙切齿下一秒就对乖孙说“你一定要听他话他能救你命”；方中信去竞选办公室找曾志威如入无人之境，健康码都没扫保安就不知道拦一下吗；陈家乐坚持了一小时的正义至上的法律信念在一小时过几分的时候突然变成要接受认罪协议；谭耀文仅凭方中信一个假设问题就能一针见血给出关键建议，这阅读理解能力不拿个高考语文状元说不过去吧；一个张松枝就能只手遮天顶得上一个三合会，曾家这么厉害为啥不直接把三叔推海里呀！讲真，真是糟蹋了演员表里的老人家们！
世上最脱力卧底主题电影系列之一吧？三池崇史和宫九再次展现日本人恶搞能力虽感觉不如前两部玩的开但该有的感觉还是回来了。生田斗真颜艺和不能入目的吻！最后圆满结局
被恶灵袭击的场景很容易让人联想到《昆池岩》的精神病院，不同的是《鬼门》是以一种像玩游戏一样的沉浸感使人赶到恐怖。像是一场密室逃脱游戏。
说起缚地灵都拽得不行，结果就干掉了一个不能动的。还行吧
全程沉闷节奏一般老梗炒来炒去，氛围也营造的一般，不太喜欢。
2022-07-27 又看了一遍，我也想不到我会这么喜欢这部烂片的架构啊！我也不想啊！（慌张）甚至想改成三星丨2022-03-06 首先，夸一下导演和编剧的野心。但是只夸野心。我真的特别不喜欢这种拿个橡皮泥搓一搓就东黏一些细屑西粘一些沙土最后再摆盘一下就当自己的作品推出来接受品评的玩意儿。没有一处是全新的有原创性的东西我是真的服气，没有一处！NONE！
漆黑的走廊，趴在门上听着门后的声音，气氛感做的还不错
电影想表达的黑暗的政治交易，被低估了的父爱，身在职责的初心，职业的真相和正义均一笔带过，在观者心里无法留下痕迹，且案情毫无推进和反转，台词普通，真的可以说平庸的可怕。
三池崇史确实没有活了，漫画风的极道大乱斗倒是总也玩不够了，既然完结了，就得好好想下一步该做什么了。
②主线推进太弱 全靠献祭流 主角灰色手法应该多用点
泷泽Karen磨大腿的刺激度比前两作高不少，可惜时间短了点
香港可能拍职业片已经不用动脑子了，所有人都是一副“上工”的感觉，廖启智已经去了，片子库存只会减少，却又被耗在了一部乏善可陈的片子一个毫无作用的角色。同类型片本身就要靠花头推陈出新了，这下偏偏还要用平淡无奇的运镜跟无聊至极的剧情重复类型片的每一个环节，真的很无聊。
以为之前的那个案子会在故事的行进中挖掘得更深，谁知道完全变成了NPC式的存在，需要的时候就用一下，不需要也不重要，整个变成一个低端的剧本杀剧本。这部电影很吵，尤其的吵，明明就是一两个人在这种寂静的空间，也不是很多人吵架，但是导演把它变得非常的吵，因为在情节无聊的情况下让人觉得很烦。整个故事缺少一些基本的动机和推进，像是还没写明白的雏形故事。
也太平庸了，死者但凡是个穷人，根本打不赢官司。
RPG游戏剧本：男主拥有道具——金刚降魔杵（知晓地缚灵生辰并将对方打至红血后可超度它），妈妈的驱魔铃（被地缚灵攻击至红血后可短暂封印它，并回复血量至一半，仅可使用一次）。场景：某废弃医院（进入后不可离开）。无敌NPC：邪恶铁锹管理员（主角在某处耽搁太久，它就会出现）。过关条件：1、普通：触发剧情后主角自杀；2、困难：找出尹美琳邪恶人格，将其超度；2、地狱：将除管理员之外所有地缚灵超度。
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