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This film should have been only 10 minutes. I mean there is really only 10 minute worth of watchable content in this thing (I even hesitate to call it a movie). The opening credits of the film was somehow promising. As the film begins by short comments of the man himself, you really rub your hands and stay tuned for more footage from Cohen's life. Well, Nick Cave does a reasonable job covering one of Cohen's famous songs. The length of Cave's performance makes you even more eager to see more of Cohen whose wit and well spoken words have already tickled your fancy. But as it turns out Cave's performance is only the start of lengthy super boring performances by literally a bunch of no ones who don't even have a minimal attraction to keep you on your seat. I mean what does the filmmaker really think? five-minute close-up shots of wanna be singers in a fake concert in Australia!!! What does the filmmaker really think to insult the audience by adding "fake applause" to these endless nasty performances. The film is a perfect torture that shows you very little of what you came to see. There is not a single footage of Cohen's past. In fact, except for a few photographs of his early days as a singer/poet there is absolutely nothing! If you add up all the minutes that Cohen talks it may not even reach 10 minutes. But these 10 minutes are tortuously presented bit by bit in between disastrous camera-work that captures some of the most unattractive people screaming Cohen's lyrics. If you ever decided to waste your money on this film, DON'T! just throw it in the garbage and at least save your time.

Written by the most prominent figure in Iranian social realist cinema, Talaye Sorkh is very much suggestive of some social realities in contemporary Iran. Following an underclass pizza-delivery man for a day or two of his life, Panahi's camera pictures a story that speaks only not for Hussein, but also for many of his real-life fellow citizens in Tehran. Although the film appears to be highly critical of the current social gap between the rich and the poor, Talaye Sorkh is more about alienation and marginalization. Hussein is a war veteran who is devastated by the contradictions of the values he fought for in the Iran-Iraq war and what he witnesses in the affluent neighborhoods of northern Tehran, where he delivers pizzas. He is shocked to see a former lieutenant in one of those chic houses. Thanks to Hussein Emaduddin's great performance, the film by no means begs for sympathy. It seems that the tensions of the society in which Hussein lives, has made him an emotionless man. Hussein's toneless attitude and his unusual calmness speaks of a man whose tolerance comes to a rapid explosion at the end. He is a sort of man who is unable to even feel for his fiancé. Robbing young women's purse doesn't seem to interest him either. Throughout the entire film he is in a state of shock. Although the film's plot is based on a true story, its dialog seem a bit incompetent and weak at times. The dolly shots and the overall camera-work however perfectly contributes in suggesting a schizophrenic atmosphere which has indeed been the intention of Panahi as well. Panahi's latest film is very much similar in theme with his previous award winning Dayareh. That film is also recommended for those who enjoyed this one.

This is a film about oppression. The film casts two of the major young stars in the contemporary Iranian cinema, which also explains the box office success right after its release. But aside from the stardom factor this film pictures a sub-culture that has often been associated with the lower class in Iranian societies. Hassan's character, which is skillfully performed by Amin Hayaii is the perfect stereotype for a certain group of people who are often called "JAVAAD" by the younger more westernized generation. Originated from the poor southern neighborhoods of Tehran the "JAVAD" culture has often been mocked by those who consider themselves more modern and stylish. The irony of the matter is in the fact that through this process of mockery Iranians (specially the younger generations) have developed a fetish with the norms and codes of the JAVAD culture. Imitating JAVAD slang and styles has become a "cool" thing to laugh at. With this regard it is easier to understand the well reception of the film not only in the black market inside the country, but also among Iranians in North America and Europe. The film's funniest moments are when the JAVAD culture is being represented by Hassan. Exploiting the slang and behavior of JAVAD culture, Hayaii gives the viewers what they love to see and even repeat! In fact Hassan's hostility towards his father's hitter is more of an social difference. His oppression is a result of the social gap he sees between himself and his soon-to-be-friend's counterpart: Amir. Later on in the film when Hassan has become modernized by his stylish friend, he says that he never felt like he is somebody before.

On the other hand and despite his physical attractions Golzar's character is also an oppressed one. Representing the liberal more modern generation of the Iranian young adults, Amir is abused by the suppressive authorities: His dad and the regime. Through Amir's interactions with the Islamic police with whom his dad is on one side, the film is critical of the Islamic regime's deal with the young population, which at the same time may have caused the possible bans for the film inside the country.

As the film nears ending it reveals some positive values of Hassan's culture such as loyalty and trust but at the same time treats him as someone who had to convert in order to win. The humorous qualities of Coma is only apparent to those familiar with the culture but it could also raise questions about why we laugh and its relation with our fascination with mockery.