昏迷

《昏迷》是一部令人毛骨悚然的悬疑惊悚电影。故事围绕着年轻的女医师苏珊菲勒展开，她的好朋友因一次简单的手术而陷入了昏迷状态。然而，这只是冰山一角，因为在苏珊所服务的医院中，还有许多类似的病人在手术后也陷入了昏迷。面对这个诡异的现象，苏珊开始展开自己的调查。她发现这些病患都被送到另一个机构进行集中照顾，但事情并不像她所想象的那样简单。随着调查的深入，苏珊逐渐发现了医院内部隐藏的秘密。电影通过紧张刺激的剧情和扣人心弦的悬念，成功地营造出一种令人窒息的氛围。观众跟随苏珊一同探索真相的过程，不禁感受到了电影中的紧张和压迫感。影片的剧情设置巧妙，将观众引入一个充满谜团和危险的世界。同时，演员们的出色表演也为电影增添了许多亮点。主演苏珊菲勒将自己的角色演绎得淋漓尽致，她的坚毅和勇气令人敬佩。《昏迷》不仅仅是一部普通的惊悚片，它还通过探讨医疗系统中的黑暗面，引发了观众对于伦理和道德的思考。电影揭示了一些医院背后隐藏的不为人知的秘密，让人不禁反思现实世界中是否存在类似的情况。总的来说，电影《昏迷》以其紧张刺激的剧情和出色的演员表演，成功地吸引了观众的注意力。它不仅仅是一部普通的惊悚片，更是一部引发观众思考的作品。如果你喜欢悬疑惊悚片，那么《昏迷》绝对是一部不容错过的电影。

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)