《昏迷》是一部令人毛骨悚然的懸疑驚悚電影。故事圍繞著年輕的女醫(yī)師蘇珊菲勒展開，她的好朋友因一次簡單的手術(shù)而陷入了昏迷狀態(tài)。然而，這只是冰山一角，因?yàn)樵谔K珊所服務(wù)的醫(yī)院中，還有許多類似的病人在手術(shù)后也陷入了昏迷。面對這個(gè)詭異的現(xiàn)象，蘇珊開始展開自己的調(diào)查。她發(fā)現(xiàn)這些病患都被送到另一個(gè)機(jī)構(gòu)進(jìn)行集中照顧，但事情并不像她所想象的那樣簡單。隨著調(diào)查的深入，蘇珊逐漸發(fā)現(xiàn)了醫(yī)院內(nèi)部隱藏的秘密。電影通過緊張刺激的劇情和扣人心弦的懸念，成功地營造出一種令人窒息的氛圍。觀眾跟隨蘇珊一同探索真相的過程，不禁感受到了電影中的緊張和壓迫感。影片的劇情設(shè)置巧妙，將觀眾引入一個(gè)充滿謎團(tuán)和危險(xiǎn)的世界。同時(shí)，演員們的出色表演也為電影增添了許多亮點(diǎn)。主演蘇珊菲勒將自己的角色演繹得淋漓盡致，她的堅(jiān)毅和勇氣令人敬佩?！痘杳浴凡粌H僅是一部普通的驚悚片，它還通過探討醫(yī)療系統(tǒng)中的黑暗面，引發(fā)了觀眾對于倫理和道德的思考。電影揭示了一些醫(yī)院背后隱藏的不為人知的秘密，讓人不禁反思現(xiàn)實(shí)世界中是否存在類似的情況?？偟膩碚f，電影《昏迷》以其緊張刺激的劇情和出色的演員表演，成功地吸引了觀眾的注意力。它不僅僅是一部普通的驚悚片，更是一部引發(fā)觀眾思考的作品。如果你喜歡懸疑驚悚片，那么《昏迷》絕對是一部不容錯(cuò)過的電影。

American Science Fiction author Michael Crichton’s second venture into filmmaking after dipping his toes in grinding out a futuristic WESTWORLD (1973) which is in dire urgency of a retrofit (here comes HBO’s popular TV series), COMA is not from his own novels, but transposed from his friend Robin Cook’s book (which also receives a TV re-interpretation in 2012), it cleverly taps into a paranoia-driven (our mortal fear about hospital and surgery), conspiracy theory routine that takes place in a major hospital in Boston and is headlined by our tenacious heroine Dr. Susan Wheeler (Bujold).

After her best friend Nancy (Chiles) succumbs to a brain-dead coma after a minor surgery, Susan acutely sniffs some goings-on on top of the statistic hokum of bad luck, her pursuance of the truth will duly encounter mounting resistance, butnothing can hold her back, neither the bureaucratic pressure nor a ruthless killer trailing her among the cadaver-riddled hospital rooms in the witching hour. She even goes out on a limb and sneaks into a formidable institution on her lonesome to finally solve the puzzle and miraculously finds an exit route. Yet, just when we are astounded by her moxie and wits, she predictably makes a fatal mistake and throws herself on the mercy of the vile ringleader to be silenced on the operation table by carbon monoxide poisoning, only to be rescued by her knight-in-shining armor in the eleventh hour, as an ostensibly female-centered trend-bucker, that final phallocratic deed is tastelessly self-defeating.

What is more excruciating is the portrait of the aforementioned knight, Susan’s boyfriend and colleague Dr. Mark Bellows, played bya flip Michael Douglas, often gratingly plays the contrarian whenever a stressed Susan propounds her theory, and Crichton rams the hovering question into his audience by implicating that he might be complicit in the whole backdoor human organ trafficking, simply to pull off the kicker and feather the movie’s deceitful macho nest, don’t forget, he is the one who would rather staying in his car and leaving Susan alone to visit the sinister-looking facility in the first place, plus, if he were really such a perfect dreamboat, it would not have taken him until that later phase to realize that something is amiss.

While it is the imagery of horizontally floating comatose patients (all young, fit bodies, for practical and aesthetic reasons), that chiefly subsists the film’s dimmed allure, there is no denying that apert and competent Ms. Bujold makes for a strikingly sympathetic heroine, in spite of Crichton’s carefully veiled comments on women liberation, as Mark frustratingly mutters, he should have fallen in love with a nurse instead, which strikes her as a frigid, lippy woman whose femininity is subdued by her own aptitude.

Finally, two supporting turns are worth singling out here, an authoritatively stern Rip Torn can always give us goosebumps even without uttering one single syllable; whereas a blink-refrainingElizabeth Ashley knows perfectly how to put impersonality to the fore, her Nurse Emerson could be intricately computer-manufactured herself, to more align with the drift of Crichton’s works.

referential film: Crichton’s WESTWORLD (1973, 5.7/10)