The Patty in "Inernational Assassin" wasn't really a child, though. She was already dead. But yes, that makes an interesting parallel.

I think it's clear that it's not a yes-no question.

Is it a spoiler to refer to a scene that happened two weeks ago?

Boo!

The point of the question appears to be to get the respondent to reveal him or herself. I found Nora's response wholly inadequate. And I could see a person answering 'no' but also with a poor explanation for why. Think of it as an essay question. The "right" answer isn't "yes" or "no" but any kind of answer that…

Nora absolutely wants to jump in the machine. More than she wants Kevin or Lily or her job or anything else.

My guess is that the point is: the question is invalid. Life doesn't work that way. That's not how moral choices happen. Killing a child won't cure cancer. It's an inane premise to play along with.

I blame Damon.

I feel ya, but I think it makes the most sense for this story to reach a conclusion.

Back in the '80s music videos were a bona fide art form, and "Take On Me" was one of the best.
Aside: I doubt people who see the video today know much it owes to the Willam Hurt movie "Altered States", which was a big deal in the early 80s but has pretty much disappeared off the radar. That's what happens when you…

Of course, how do you know that a baby is "baby Hitler"?

I would say the world doesn't work that way.
These hypotheticals are nothing more than thought experiments and shouldn't be taken seriously. I would roll my eyes at the question.

I felt that this particular argument was set up much, much better than the one in Before Midnight. Linklater has a gift for knowing _what_ people say, but the _why_ isn't always there.

I don't think Kevin or anybody else has the right to tell Nora to "move on". If her pain is inconvenient for him, so be it. The notion that losing an entire family is something other than a permanent scar seems callous and self-serving. I know parents who lost only one child who never "got over it".
Our contemporary…

Punch-drunk love is so much better than any of his other movies - I wish he'd gotten a clue and worked more with better writers and directors. He could have had the role of "the Bear Jew" in Inglorious Basterds but he didn't want it.

I don't think the word "frontrunner" means "presumed winner".
Also, "perennial" was a key part of my comment.

I thought she was reacting (at least in part) to the fact that her daughter wanted to move out.

Well aside from having better story, acting, direction, and production it's _just like a Lifetime movie_.

Perry didn't really confess completely. He downplayed the amount and type of abuse. After choking Celeste for at least 30 seconds he downplayed it as "pushed her by the shoulders".

She's a very gifted actress but there's a certain type of woman that she specializes in playing. I could not see her playing Madeline, for example, while Celeste is in her wheelhouse.
When she was younger her characters ranged a bit more (e.g. To Die For, which I still see her best).