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.

"Luther" (Seasons 1-3). Starring Idris Elba - Available on Netflix

The television series "Luther" comes to us from the BBC.  It is a detective series starring Idris Elba as the title character and is available on Netflix  He is a complex man - he has anger issues that constantly threaten to boil over in every episode, often interfering with his case work.

The series is often exciting and compelling but it may defy your own beliefs and provoke skepticism.  How, for instance, can so many unusual and idiosyncratic murders take place in one city in such a short period of time?  In "Luther", you get to see a whole vast array of weird and heinous crimes.  This is the main problem I had with this series - too many bizarre occurrences for reality.  But, this isn't reality, after all, it's fictional television and a good series at that.  When you get past those objections, your in for a thrilling ride.  Elba is a cool, unwavering detective who isn't afraid to bend the rules of the law to get the desired result.  He occasionally lapses into moment of questionable behaviour and fits of rage.  This is what makes his character so interesting and unique.

The other character in the show that brings a unique layer to it is Alice Morgan (Ruth Wilson).  She pops into the story-line every now and then.  She's a fascinating character.  She frequently gets away with murder and occasionally helps Luther is some of his cases.  Her law-evasion and rule-breaking testifies to the nature of modern crime - sometimes you can break the rules and still exist in society freely.

This is a crime drama as idiosyncratic as the characters it depicts.  It is in its unusual nature that you will be delighted.  You will often wonder how Luther is able to get away with what he does and that is what brings you back to the show each time.

Steve Jobs (2015, dir. Danny Boyle)

This is a brilliantly-structured and acted production depicting the trials and tribulations of genius.  The film takes place before different product launches and follows the protagonists in the backstage areas while Jobs and his associates frantically prepare for what's ahead.   At the same time Steve Jobs (Michael Fassbender) has to deal with his personal life - his young daughter and past failed/aborted relationships, both personal and professional.

Few actors would have been able to embody the conflicted genius of Steve Jobs like Fassbender has.  You get a real sense of his driven, idiosyncratic nature combined with his questionable, more vulnerable preoccupation with his past and offspring.

The film careens back and forth between flashbacks and the present day of the filmic world.  It is propelled forward by a structure that every so often, jumps ahead a number of years to monumental moments in Steve Jobs' life when he was about to embark on product launches that would make or break his career.

The film is a testament to the unwavering, relentless entrepreneurial spirit and how one should never give up in the face of failure.  Failure, after all, is only temporary and can pave the way for bigger and better things.  You probably don't remember 1988's NeXT, after all.  But, "iMac" has become a household term - an internationally-renowned phenomenon.

The film is dialog-heavy but this does not detract from its charm.  It is a gripping look at the genius behind one of the most successful companies in history and his troubled personal life.  It is a microcosm of the human spirit.