Metacritic reviews

The comedy and drama balance each other well, while the varying styles create a wholly unique work of art that perfectly captures the uncertainty of the beginnings of quarantine.

A heady rush of ideas, the film’s avant-garde mélange of live-action footage, abstract video art, and multiple kinds of animation just barely masks that it’s a rather simple story about a Zoomer’s inner struggle with both her own mortality and that of the world.

Bonello looks at the Zoomer state of mind, as he does for much else of importance, and has cutting, perceptive and troubling things to say.

In an oversaturated market for pandemic-themed films, Coma is a delirious marvel of a reminder that, in the right hands, there is no such thing as an unfeasible subject.

Coma pushes the boundaries of the so-called lockdown movie with its thrilling, chaotic form.

Eventually, Bonello does draw things together and creates a sense of cohesion in addressing the insecurities, large and small, of a typical teenager who has endured the pandemic lockdown.

An amorphous film that flashes the middle finger to conventionality from its launch, Coma blossoms into a metaphorical and allegorical Rorschach test.

If, when printed and sent off for posterity, a snapshot like “Coma” offers a small degree of archival value — while answering the question Bonello poses at the start — it might also arrive as a postcard from a time all-too-thankfully gone by.

There are stabs of the same fear and revelation that made The Beast so fascinating, but this is in the main unfocused and undisciplined, and the isolation of each character merely drains the film of oxygen.

As difficult as it can be to tell what’s real and what’s not here, it’s even more difficult to care: “Coma” seems to have poured out of Bonello stream-of-consciousness style, and analyzing it is about as rewarding as trying to make sense of the half-remembered dream your friend won’t stop talking about.