Oh, I had one question. Near the end, the other kid, not Timmy down in the well, but the freckled Irish-looking one with the red curls, goes into some kind of a capsule or a vehicle and takes off by himself. Any guess in what's going on with that?

Mark Ruffalo teases a Columbo remake: [link]

Vonnie, I thought he was just going to his job, whatever that was.

I thought the same thing as Dana. That his job was "In case of emergency, get in this incredibly small compartment and do a thing that will almost certainly end in your death but might save the train."

This movie makes me want to reread Wool (or maybe finally get around to starting Shift), and then rewatch all of BSG, and the Matrix trilogy.

I was wondering if that was a sequel-bait, then was like, "what sequel? There is no longer a train, nor any people left except these two!"

Yep.

Vonnie, I agree with the stuff you liked! Even though it used a lot of familiar tropes, it had enough weirdness (and structural strengths) to make it different.

I didn't think it was grimdark despite the subject matter and the violence.

A friend said it was the most bleak movie she'd ever seen, and I got that impression from some of the comments here, but I agree with you. Didn't feel like bleakity bleak bleak to me.

the Matrix trilogy.

As we know, the future is full of rave scenes.

If the future doesn't have raves with tons of hot half-naked people in it, I don't see the point of going there.

Holy CRAP: [link]

That's just... amazing.

Well, that was superfun.

Lim is ridiculously talented. I cannot even imagine the amount of work that must have gone into making that vid. And the timing and the musicality! I think my favourite bit is the middle section with Natasha and Peggy kicking ass to the rhythm of tap-dancing.

Back to Snowpiercer. Genevieve Valentine puts into words the reason why I liked this movie so much: [link]

Though the linked piece is more about the function of a particular image than the entire film, which I thought was a marvelously unsubtle parable that worked beautifully in its details and in the sheer variety of tones it took, so that you're unsettled not so much by the trappings of the world but by the fact that the journey through the train often juxtaposes wrenching horror with grimly gleeful comedy. For a movie as direct as this is, the variety of tones offers some interesting latitude for the viewer to determine what it's trying to say.

The linked piece was about the fish, which was one of my favourite random beats in the movie.