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Cosmic Sin 2021 : Strike Against A Alien Plante in 2524.
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| Image Source - Google | By IGN |
Storyline :
Seven rogue soldiers carry out a preemptive strike against a newly discovered alien civilization in the hopes of preventing an interstellar war from escalating. After a hostile alien fleet attacks soldiers on a remote planet in the year 2524, four centuries after humanity began colonised the outer planets, retired Gen. James Ford is summoned back into service. As Ford and a team of special warriors struggle to stop the impending invasion before it's too late, the threat against humanity quickly escalates into an interplanetary war.
About The Movie :
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| Image Source - Google | By Cosmic Sin |
Willis' performance and the film as a whole
achieves neither of these goals. “Cosmic Sin,” directed by Edward Drake, who
also co-wrote the terrible script with supporting actor Corey Large, is both
perplexing and tedious. With lengthy and complicated title cards, it builds the
groundwork for its futuristic, sci-fi scenario, implying a transporting journey
ahead. Except for robot bartenders and the customary flying cars, the Earth of
2524 doesn't appear or feel all that different from the one we live on today.
And it appears that there will be no acting lessons in the future, as all of
the performances are stiff and unconvincing.
You may have noticed that Bruce Willis' recent production has been exclusively comprised of straight-to-VOD Steven Segal-quality garbage and absolutely awful sequels that have justifiably tanked. 'Breach,' 'Survive the Night,' 'Trauma Centre,' 'Reprisal,' 'Air Strike,' 'Acts of Violence,' 'Extraction,' 'Marauders,' 'Hard Kill,' and 'First Kill' come to mind.
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On films like 'Cosmic Sin,' the
production focuses on "Bruce Willis Days," which are the only days
(one or two at most) that Bruce works on the project. All of his sequences are
compressed into massive 24-hour labour days. Bruce then arrives with no
passion, goes through the motions, and practically kills the crew so that he
may fly in and out on his own jet.
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| Image Source - Google | By Cosmic Sin |
But, unlike Paul Verhoeven's 1997 masterwork
Starship Troopers, Cosmic Sin lacked either the tongue-in-cheek sense of humour
that recognised the ridiculousness of these genre offerings, or the pointed
irony and criticism. Science fiction has always been used to reveal unsettling
realities about society and people, such as what we value and what we dread.
What do we want to control, and why do we want to control it? What is our place
in the universe, and what will we do if we discover we aren't alone?
The plot is a strange mix of
science fiction and horror: According to the intertitles, Earth has spent over
500 years attempting to settle other planets by the year 2524. Mars
colonisation was a failure. The Alliance, which oversees Earth's interplanetary
endeavours, still has control over two more colonies on the worlds Zafdie and
Ellora. When the planet Zafdie attempted secession in 2519, "General" James Ford (Willis) launched a Q-bomb on the "rebel
colony."(Oh, right: the movie uses phrases like
"quantum propulsion technology" and "tachyon interference"
to MacGuffin things without actually explaining it, so a "Q-bomb"
that uses quantum technology is essentially an enormously worse nuclear bomb.)
Ford received a dishonourable discharge after handling the death of 70 million
people. Some have ostracised him in the years since, while others have praised
him as the only guy prepared to do what needed to be done. So, it's your
standard Willis role.
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They decide to kill the zombie aliens with a generic-sounding gadget dubbed a Q-bomb after a brief ethical debate (which, for some reason, features an old-fashioned, red digital countdown display). Ford and his team take a quantum leap to the wooded world of Ellora (which looks a lot like the forest moon of Endor from the "Star Wars" universe) to eliminate these creatures before they reach Earth and destroy everyone. So "Cosmic Sin" may be a metaphor for... genocide? It's difficult to tell because everything is so half-baked. The lack of true suspense is replaced by endless gunshots and a boring music.The space travellers' helmets and body armour, which they use to move from one planet to another, are also lacking in substance. They resemble spray-painted Styrofoam slabs held together with Velcro and adorned with a few LEDs and reflective pads.
However, the costuming seemed to have received a little more care than Willis' performance. He doesn't have a smidgeon of the swagger that made him a star in the 1980s. He always speaks in a sleepy monotone, regardless of the occasion. He's trying to create a sense of isolation and remorse by shooting alone at a roadside dive bar at the beginning of the film, but all we get is boredom. It's the most genuine and relatable scene in the entire film.