So with Willis sleepwalking through this flick, one might assume Grillo would pick up the slack as the more active participant. Nope. Grillo, of all people, vanishes almost halfway through the movie, leaving just the scattered remains of the cast to carry this awful project. And then even they themselves pop in and out of the movie, making you wonder where anyone is or why they’ve just been inexplicably axed from major action scenes. Cosmic Sin is a mess, and not even an entertaining one.
Outside of Grillo and Willis, Cosmic Sin touts Costas Mandylor (doing an English accent?), Riverdale’s Lochlyn Munro (blink and you’ll miss him), Entourage’s Perrey Reeves, C.J. Perry (WWE’s Lana), and Reign’s Adelaide Kane. Plus, co-writer/producer Corey Large and Brandon Thomas Lee in roles that are supposed to have emotional connections to other characters, but none of that ever resonates.
Cosmic Sin is so disjointed that it’s hard to believe any of the sentiment it tries to muster. The one bizarre element that almost looms larger than anything else here, including the chintzy nature of the production, is the messaging that the world – nay, the universe! – needs war criminals. This is a severely “strike first, strike hard” movie, using hostile aliens (who either appear as zombies or ninjas) to prove this credo correct. It’s like Starship Troopers without the talent or satire.
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With garbage-looking space suits, flat effects, and an ample about of blue and red lighting to suggest “science fiction,” Cosmic Sin revolves around Willis’ General Ford being brought back into action after, a few years earlier, detonating a “Q Bomb” to stop a rebellion. He’s a polarizing figure, this “Blood General,” but that’s because apparently, half the population has entirely the wrong opinion about ghastly war crimes. Grillo’s General Ryle wants Ford on his small squad because he needs someone who has no problem exterminating things. And so off they all go, into a dreary, tedious firefight with body-snatchers that, at times, turns the corner and becomes slightly hilarious because of how little sense it all makes.
Cosmic Sin could have easily felt like a finished, albeit cheap, film if it at all contained a continuous through-line of cast consistency. The final act features some of the characters looking absolutely ridiculous, doing the preposterous, in the name of some gross ideas about conflict. It’s also morbidly lazy when it comes to its sci-fi ideas, lifting just about everything you see on screen from other, better, exhibits.