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
致敬雷神绿巨人美国队长和钢铁侠那段高潮，太搞笑了，笑出了声。不剧透了，值得消遣的开心片。正好隔离中，隔离时的选片很重要啊，就要开心恶搞就好。
好嘛，终于知道为什么超级英雄喜欢内裤外穿了。。。
看起来很爽快，有点像起点看林海听涛小说的感觉。虽然一个足球，一个篮球。但是一样的热血，一样的激情。千里马还是需要伯乐发现的，如果没坚持，可能就埋没 了，甚至被冲动给毁掉前途，比赛场上垃圾话可是一大利器啊。也好想拥有那么天赋异禀的身体，老天爷赏饭吃
虽然喜欢这个片子，但真的是不喜欢亚当桑德勒，这个演员不管演什么角色都是一个样子，真的是不行，当年也就一个人生遥控器这个片子还可以，其他也就没了。但片子的主题和那个欧洲篮球手我还是很喜欢的
不管怎么说，确实融梗融的不错，而且有头有尾
6666 菲利普的电影都好搞笑，法国烂仔帮？？？
飞天遁地史上最惨Lois Lane倒挂蜘蛛之蛋，X学院大逃亡胖罗根蛋糕变形女，蝙蝠飞锤复仇者联盟出师未捷，刚烈戈登探长收复彩珠灭霸；DC漫威玩个遍，蠢烂白痴好开心。《城市猎人》孟波和阿香变姐弟，看着还有点不适应
玩梗不错，但总体因为对DC超英类型片不是特别熟，无法做到像前作城市猎人那样烂熟于心，所以一些喜剧效果打了折扣。整体观感尚可
很多桥段挺老套的，打不了nba还是可以来cba么，有这一身本事到哪不是挣钱……詹姆斯出品，所以一堆大腕客串
不错的法国喜剧电影，哈哈哈！漫威和DC都惊呼“了不起！”
哈哈哈哈哈睡前無腦力薦！生活中再loser也包裹著一顆超級英雄的心，把漫威DC英雄們挨個反諷了一遍，最後還能峰迴路轉以及抱得美人歸，對了，廣告植入還能大賣，這才是真的無可複製（還想複製？）的superhero。法國導演真的太敢想太敢批了，連未來竣工的巴黎聖母院都不能倖免哈哈哈哈哈哈哈全程爆笑⋯⋯
篮球题材就是对我胃口！最后的提醒，在其位哈~
一本正经地恶搞，cue了好多梗，哈哈。★★★/6.4
超级英雄的梗很多，主体是屎尿屁。现在很难被这种片娱乐到了，不是片的问题，是我的问题。
我想特意提的，是关于追梦电影的变化：从“一个人打败全世界”，到这部《必胜球探》的“双人成行”我想，打动我的就是这样的两人羁绊、互相成就。
屎尿屁搞笑，法版城市猎人班底，恶搞了各种超级英雄以及汤姆克鲁斯，想知道这样的恶搞不用担心版权问题吗
低创，不如《城市猎人》，虽然不想挑三拣四的但有些地方实在是太低创了，完全就是几个梗翻来覆去的搞，不过总体上还蛮好玩的节奏赶得上，女主的颜我也还是吃的，最后的小反转也还算用心，当然，一切都没有最后的吸尘器的光彩夺目，这吸尘器广告真没白花钱。
笑果很不错哈哈。演女友的演员非常迷人，好像没啥名气。
老詹担任制片的套路式篮球励志片，
触不可及2（笑一年）/小丑plus银河护卫队/签脸上/车玻璃隔音一级/蜘蛛侠倒挂吻/幻觉上厕所（他演多久我笑多久）/吸尘器广告植入（配乐踩点好爽）
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