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
这是我看过最疯的女主，这也是我看过最晃的的伪纪录片!
片子挺好，算是有头有尾，后面算是把反派的来由也说清了。扣一星主要是最后的恶魔太菜了，献祭了这么多人，还以为它爬出来是献祭够了可以在这边现形了（在水下的车里也受了重伤都没爬出来），结果威力就比普通人大点，附身的时候力量强会念力，结果出来就是个寄生虫。
luke不要给我谢谢
分太低了吧！女主角好疯批，弹幕也好好笑！是最近看过恐怖电影里面比较有意思的一部了。
听说是扑棱蛾子就来看了，结果看到80分钟还是灵异片最后几分钟扑棱蛾子终于出来了…值！造型确实挺cult的，其实就是食梦貘的里子，节奏也还行，讲真比新蝙蝠侠好看多了
怎么做到的运镜氛围场景都不错，甚至怪物也有意思，但剧情就是稀巴烂呢？啥都掺一脚显得格外四不像
什么究极垃圾烂片，片子节奏掌握一看就是业余的，进度条过半还是搞不明白定位是野外杀人狂还是邪教丧尸，本来30分钟可以讲完的故事非要拉成1小时，换来的是极度不了解定位的低配鬼影实录（鬼影实录起码还有多个视角，这就是大火伪纪录片的聪明之处，而这部片显然不是。）
hey bitch what's wrong?
女主角的脱口秀我愿意听两个小时，但这片子能拍到超过一小时都已经很勉强了。
女主满足了所有白左的特点：说话声音大，话密，体力好，嗑药，爱直播和不戴口罩（滑稽）
此片意义在于让人意识到，圣诞Vibe已开始，单身赶紧搞CP。国外网大水平
哈哈哈哈，疯癫女主+黑色幽默+带有公路片色彩的伪纪录式恐怖片这些点加起来真的很值四颗星。有些地方诡异到让人从脚趾头开始就一阵寒意，有些地方又让人一边大笑一边高喊厚礼蟹
前面一惊一乍的节奏有点慢，后边比较刺激，故事也交代的比较清楚
哈哈哈哈哈哈疯婆子对上一群正儿八经的人，疯癫和严肃碰撞出了莫名滑稽的氛围，让我想起了惊声尖笑系列
有人留意到唯一一条非英文的评论，是中文的吗，哈哈哈哈
前一小时冗长沉闷，即将结束才出现短暂高能 01:09:10
只要献祭老人、妇女或儿童，就能得到某种力量的庇佑。
氛围很到位，女主演技也不错怪物造型精致。精致的恐怖片。
箱子里钻出玛雅神兽操纵梦境吃人头颅，总感觉和鬼屋氛围不太搭，有点缝合。穷比鬼可怕多了。
不管什么妖魔鬼怪、残肢断臂等老套B级片噱头，本片最大的看点就是女主全程不间断的黄暴又搞笑的freestyle。这种即便是在最恶劣的处境下，也能随性嘲弄的性格太可贵了，女主应该去演女版死侍，如果真有这个人物的话。
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