Season 2 of "Broadchurch"

Season two of the British crime-drama, "Broadchurch" picks up where season one left off and follows the trial of the accused child murderer from the first season, Joe Miller (Matthew Gravelle). 

What makes the show so compelling and unique is the way the show delves into the private lives of its characters and meanders and diverges in directions that force us to witness the raw, emotionally-charged universes of each character's private world.  The show's characters have a lived-in, realistic quality to their portrayals.  Olivia Colman's performance as Ellie Miller is the most riveting aspect of the show.  We witness the toll the indictment of her husband has had on her, but her character weathers the turmoil in a dignified, resilient way that draws the viewer into her soul.

To make things interesting, the show introduces a new side-story to the over-riding plot.  Another investigation by Alec Hardy (David Tennant) into the murder and disappearance of two children from a few years back.  Tennant's portrayal of Hardy is as an obsessive, unwavering man who refuses to give up.

There are number of surprising twists and turns in the second season of "Broadchurch" and it adds depth and interest to the overall series.  The show proves that some of the best drama on television is happening on the other side of the Atlantic.

Schindler's List (1993, dir. Steven Spielberg)

Few films manage to pack as much of an emotional punch as Steven Spielberg's 1993 epic
"Schindler's List".  It is his visceral tribute to the survivor's of the Holocaust, specifically those saved by the film's main protagonist, Oskar Schindler.

Some have criticized Spielberg for manipulating emotions in his films.  But sometimes we go to the cinema to have our emotions manipulated, do we not?  There are scenes of sheer terror, horror, joy amidst sorrow, surprise, catharsis, and triumph.  The whole spectrum of human emotions is explored thoroughly and expertly.

The black and white cinematography lends a newsreel feel to the film and is, at the same time, transfixing in its beauty.

Some shy away from ever watching "Schindler's List" because of its subject matter.  But, the film must be seen and experienced by all at least once in life.  It is a staggering achievement and a monumental testimony to the resilience of the human spirit in the face of tragedy and despair.

Watership Down (1978, dir. Martin Rosen)

Animated films have become so visually-dazzling in recent years, one like "Watership Down" may not seem as spectacular.  Based on a novel, the film depicts the plight of a group of rabbits who are forced to leave their endangered field in search of a newer, better home.

Although it is animated, it is not designated strictly for children.  In fact, some of the violence in it may be disturbing to some youngsters.  Adults will enjoy this film just as much as children.  The drawings, in comparison to recent films from Pixar, for example, may seem subpar.  But, when you grow accustomed to the simple drawings and animation, you will be drawn in and won-over by the film's beauty.

There is a microcosm and commentary on society beneath the film's exterior.  It is perhaps, in depicting rabbits and other animals a way of showing the need for co-operation, resilience and the transience of life.

"Watership Down" may be lost and overlooked in the onslaught of higher-concept, CGI-infused animation that have come forward since its release in 1978, but it should not be forgotten.  It is a melancholy film but it overcomes its sadness with bursts of compassion and insight into nature.

The Danish Girl (2015, dir. Tom Hooper)

If anyone could beat DiCaprio for best actor it would have been Eddie Redmayne.  His performance as a young artist who questions his gender and decides to undergo one of the first gender-reassignment surgeries is masterful and brave.  Alicia Vikander is equally mesmerizing as his supportive but conflicted wife.

The period detail is fantastic.  It is truly tragic to witness the harshness of the medical community of the time and how hard it was to be one's self when that self so thoroughly goes against the grain of the time's political and social views and etiquette.

One word I have alluded to that bears repeating is "brave".  That is how I would describe this film and its performances.  It will open your eyes and make you more compassionate.

Joy (2015, dir. David O. Russell)

I liked "Joy" for its inspiring story of one woman's rags-to-riches trajectory and its invigorating style and characters.  David O. Russell likes casting Jennifer Lawrence, and in the role of Joy she shows us a character that is head-strong and refuses to back down in the face of adversity, criticism, and financial disaster. 

Russell's direction keeps you interested and he has several interesting stylistic flourishes throughout the film that add character and soul to an otherwise conventional tale.

Joy is a character that people will identify with and her courage is infectious.  Lawrence proves she is one of the most versatile and charismatic performers of our age.

Though not among the strongest films of 2015, "Joy" stands out as a memorable and likable movie.

Room (2015, dir. Lenny Abrahamson)

My expectations were constantly thwarted throughout Room.  I had not read the book upon which the film is based nor read or heard anything about the film other than the fact that it is about a mother and son who are trapped in a room against their will for a number of years.  What I liked about it is the shear exuberance of the experience of seeing the two characters getting to escape from confinement and the wonderment of seeing them readjust to the outside world.

The originality of the story and strength of the performances catapult this film into the realm of masterpiece.  It keeps the viewer constantly riveted and begs many questions:  philosophical, ethical, and humanistic.  How for example, will a young boy be able to cope with a world in which he is thoroughly unfamiliar and inexperienced?  Not only are you seeing the world through a child's eyes of wonderment and innocence, but you are given the increased poignancy of the child having spent the first half decade or more of his life in complete solitary confinement except for the companionship of the woman who gave birth to him, his mother.  Another problem the film addresses is how the mother deals with the fact that the father of her son is her captor.  When asked about her acknowledgement of her son's father, the mother's reaction is a revelation, highly-original for story-telling, and compelling.

It is interesting to see the reactions of not only the two main characters to their new freedom, but also that of their loved ones and family who's lives also changed since the mother's (Brie Larson) disappearance.

The performances in this film are complex and beautiful.  It is tricky to convey the weight of the past and torment of such characters, but the principle leads do an impeccable job.

This is one of the great films of the year and recent years.

Zoolander 2 (2016, dir. Ben Stiller)

I actually expected to be entertained thoroughly by Zoolander 2 because its predecessor was so funny (to me anyway).  What was I thinking?  There were, in fact, very few moments in Zoolander 2 that come anywhere near to the original film's level of comic brilliance. 

There are a few funny parts.  I enjoyed Mugatu's (Will Ferrell) attempt at mask-creation, for example.  But, overall its lackluster.  I had the same feeling for the third Austin Powers installment that I did for this movie:  that the actors didn't care as much, were just phoning it in.

The first Zoolander was stupid, yes.  But, in its knowledge of its own stupidity, it transcended it.  This sequel however, fails to do that on every level.  Its a waste of time.