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
虽然第二集很多打分低，可我觉得2比1更刺激了，虽然变成动作片了。
两部曲讲得是畸零人失去信仰与信仰回归的过程，中规中矩的类型片。
小女孩亲身父亲夺回女儿是为了移植心脏给女儿的亲身母亲——毒枭女人，疯了！这三观好吓人！居家简陋的临时手术台，一名医生做心脏移植手术？这样的谣言大陆曾经疯传过，老外也信这个。整部电影吐槽点很多，观影过程怪怪的，更像《致命弯道》，完全没有《屏住呼吸》第一部的深度。一个长达4分57秒的长镜头运镜设计不错。 6.6/1.44万【6.1/2.3万 北美票房3152.98万美元，全球票房4612.98万美元】
故事很简单，演员也不怎么知名，草根程度和励志效果都挺好的-7分
好愛喔，跟前作相關性只有主角設定跟拍攝手法略同而已，但從恐怖爹地轉型為最強老爸系列大概是因為第一集的評價吧，一些內容還是扭曲的，推進方法也很天真浪漫尤其水波戲太美了但不合情理，狗狗好讚我就推，會有3嗎彩蛋明顯不說死是史蒂芬老爹回歸我就看
5。从第一部的密室恐怖片，直接过渡到暴力犯罪动作片，紧张压迫感，也变成了真与假的仇恨对决。这一部的杀戮戏飙升肾上腺素，最高点定格在老爷子飞刀亡命徒的刹那。无人末世的环境假设，让观感抽离现实，更容易入戏，这也是犯罪B级片的魅力所在吧。
如果编剧再深刻一点，台词再实在一点，导演再用心一点，演员再合适一点，摄影再讲究一点，就好了
拍得既不怎么励志，也不够体育。扎克里维也不如华叔本人帅。另外，老汉前几天退役了，励志电影可以安排起来了。
故事是好故事，演员演的也不错，但是不太喜欢真实和演戏相互交叉的感觉，而且节奏感觉不太对，明明最感人的场景一笔带过
亲妈出场把我吓个半死，节奏蛮好的，延续第一部的风格
主角延续了上一部的人设，剧情并没有延续，这部更正面一点，退伍瞎玩大叔硬刚黑帮毒枭，确实没有第一部那么吸引人……
最后老爷子还是没有好的结果，应该是对第一部中囚禁女孩子导致其间接死亡的处理吧。不是坏人，但也有罪错在生。
但整体完成度还不错，且灯光不错！
NFL公羊的库特.华纳，英超莱城的瓦尔迪，这都是从草根里爬出来的传奇。剧情拍的四平八稳，虽然说不上精彩纷呈，也没有很多煽情的场面，不过我觉得还是不错的，毕竟这是真实的故事，影片基本都是按照现实来拍的，前半部进度偏慢，后半部又快了一点，其实我觉得后半部可以拍得再详细一点，哪怕时间再加多20分钟我都乐意。最后库特.华纳那段真实的影音资料和字幕有点感人，影片整体质量还是很不错的，作为喜欢体育题材的我，愿意给出4星7.8分！
怎么说呢，唯有只能当爽片看了，可是瞎眼老汉也太神话了，上一部还是瞎眼军人利用自家地理优势战胜还说得过去，这一部直接杀到对方家了
逐步走向伦理剧 哦这个系列本来就是伦理卦的
剧情反转 节奏紧凑 镜头血腥 还有道德沦丧的情节设计 就这几点放哪个小众电影节都可以获奖了 最后略洗白了老头的人设 还有点反战思考“老兵梗”的意思 虽然这部在“屏住呼吸”这个点题的方面比上部差了些 瞎老头战斗力碉堡的表现也有些不可思议 但个人感觉也算是部营救类的爽片了 在这恐怖惊悚类片慌的最近 你还要啥自行车 那些打一二星的真不敢苟同
综合：5.8
剧情上面有点扯，亲生父母寻找女儿的目的令人不寒而栗，而且瞎老爷子的战斗力实在是有点爆棚，甚至被完全控制住还能让他跑掉，真不懂到底这些反派才是瞎子还是弱智.........
7.5，相比第一部差太多，没有第一部那种让人窒息的感觉，瞎老头也变成抗日神剧主角，无所不能，不知道还以为是能红外定位，响尾蛇侠；第一部是因为惊险屏住呼吸，第二部只能是因为血腥了，往隔山有眼这类电影方向发展了，现在年纪大了看不得这种
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