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
只能说是补充了剧情，真的很失望，狐妖小红娘本来是我很看好的国漫，这部片子的画风差劲，台词也很尴尬，打斗场面很敷衍，虽然是免费观看，但是与其这样我宁可他收费用心做好每一集，我打两颗星，一方面是表达我对其的失望，另一方面是希望给敲响警钟。期待后面的篇章！
苏格兰口音真的要努力听
可能期待过高了，并没有特别出色，但还是期待影视化那边杨幂和龚俊的演绎。
这么大的ip多团队合作是必然的趋势，这样也才能让越来越多的人看到狐妖喜欢上狐妖
Enter the relentless pressure of a restaurant kitchen as a head chef wrangles his team on the busiest day of the year.
一镜到底的有些不知所云的压力展示电影，且莫名被归类到惊悚片？
剧情不行，以苏苏梦的形式呈现整个故事，但不完整，好多情节不连贯。比如东方月初到涂山后是怎么对涂山红红产生爱意的，为什么为了红红离开涂山，在涂山是怎么变强的……
很棒，一镜到底，看着很爽，演员情绪很到位。其中对话比较密集掺杂地方口音，开始以为是在看法语剧，多个故事同时进展，考验编剧的能力，不过有些感觉会拓展的部分没有展开，感觉没看够，
一镜到底；“实时”；2.35画幅；Sony CineAlta Venice Rialto
补充了了当年发生的故事，就是这画风我不是很喜欢，还有那声音特效，我以为是奥特曼呢。
画风画质无法接受，剧情倒是补上了一些空白。三星只给月红
画风完全变了，剧情有点水，台词也很差。但是最后的BGM还是让人不禁泪流满面。
红红的发色换了好难受啊！月红和竹业是我最喜欢的两个篇章，这部作为月红的补全，我觉得不太好啊，总觉得还不如不补，我脑补反倒更精彩一点。
狐妖的故事从这里开始，月红的故事线就是给整部打下基础，格局有了。
算是当年故事的补充，有点仓促，画风不大OK。
《沸点BOILING POINT》好像是电影版的《厨室机密》，非常大胆的全片一镜到底，一个场景：圣诞夜的一家餐厅。焦虑情绪在餐厅中不断发酵，从厨房到前厅，仿佛绵延的战场，员工之间的冲突与对峙，每个个体对整体的相对影响，独立又互相捆绑，岌岌可危的厨房，不时掠过的温情可能是压制住沸点的唯一方法。
前面有多甜后面就有多虐，这是要哭死我的节奏
私心期望月红可以有一个美好的结局，但这样是不是就没有白苏了呀
真的好看，好久没看过这么好看的电影了，希望有越来越多的好电影看，真的非常棒啊，我很喜欢，演员演技也很棒
我看出来了，月初感慨自己只是被绑架上制高点的走狗，这个说的真不夸张，看出点事儿把那几个老道士得瑟的，就差说“东方月初你行不行啊不行让我来”了。
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