Let me start off by saying that after watching this episode for the first time on DVD at 10 o'clock P.M. one night, I could not fall asleep until about 3:00 A.M.
This brief review may contain spoilers.
I'm a long-time fan of The Sopranos and I can safely say this is the best episode I've seen. I'm not saying everyone should feel this way, but I do. This episode is identical to the weekend I spent with my family, watching over my own father, comatose in the ICU before he passed.
The episode begins with Tony in an alternate reality: he is a salesman who's identity has been mistaken for that of a man named Kevin Finnerty.
By the time ten minutes had gone by, I knew either Tony was dreaming, or I was watching some other show. It wasn't like the normal Sopranos and I loved it.
Option 1 is confirmed when Anthony (or "Kevin") looks into the sky at a "helicopter spotlight" and we see prodding through it, a doctor with a flashlight. We see this only for a moment and the sequence plays out until we go back to real life in a situation similar to the one I just stated.
Tony has come out of the coma for only a moment. His boys take A.J. home and Carmella, overcome by stress, breaks down in the hallway: a signature moment in the episode.
For the remainder of the episode, we cut in between the real world: the family dealing with the potential negative outcome of this coma, and Tony's alternate reality, which parallels what's going on both in his mind and in the real world around him.
Then comes the stellar point in the episode: after A.J. finishes telling his mother he's flunked school, she walks in to see Meadow sitting at Anthony's side.
She approaches Tony, and utters the best line of the episode: "Anthony, can you hear us?" In Tony's world, he enters a dark hotel room and turns on a light. He takes off his shoes and goes to the phone. He tries to dial, but he cannot--as if he were trying to say something back to Carmella, but couldn't physically bring himself to do so. Not yet.
He sits down and looks out his window. A shimmering light that has reoccurred throughout the episode now seems to call to him from the other side of the city.
"When It's Cold I'd Like To Die" by Moby marries perfectly with these last images and helps in creating an emotional roller-coaster of an episode.
10 out of 10.
P.S.: Watch the next episode. You find out what the light is. It's wonderful.

Far from providing the caffeine kick you'd expect from a film that shares its name with the most energy-boosting of warm beverages, Coffy clunks about and never really rises above being just a ropey revenge tale. Indeed, if the movie was a cup of coffee, it'd be rather weak and watery, littered with a few undesirable dregs and lacking in a lingering aftertaste. Sporadically it hits the spot, but otherwise it isn't the hot action-drama it hopes to be.
Plot-wise, Coffy is a nurse who takes the law into her own hands and delivers hard justice to the drug-pushing, lady-pimpin', mob-suckers that hooked her younger sister into a depraved, sick state. Socio-political commentary on the plight of urban black youths in America is prominent in Coffy, and it makes for some thought-provoking stuff as Coffy crusades against the political corruption and white establishment racism that profits and acts as a parasite off the targeted Afro-American minorities. Sadly, the timely messages are undermined by the film's poor quality and lack of focus. Coffy's ideas are important, it's just that they are not well-aimed.
One of the plus points of Coffy is the presence of Blaxploitation icon Pam Grier. Grier goes at her role with gusto and makes for an appealing action heroine as she shotguns down the scum in her often spectacular acts of vigilante violence (how do you deal with a house full of hoods? Drive the car right through the front door!). It's just a shame that the storyline wavers on occasions, wasting time squeezing as much sexual exploitation as possible. The low budget can't have helped, but neither does the fact that for a Blaxploitation flick, Coffy lacks groove. Just as the issues are undermined by the lack of quality, consequently the entertainment and excitement are also skewered by moments of dullness and misdirection.
The total result is workmanlike and wooden. We get a hip heroine but not a hip movie. It's a shame as Coffy has its moments and should rightly be regarded as a key film in the Blaxploitation craze; it just never ascends above being an average, lukewarm number.