KOSMOS The Review
Warning: Spoiler Alert. This Review contains details of “KOSMOS” which will, if the Reader has not watched the Series reveal the ending. Please watch the 5 Episode Series before reading this ‘Detailed Synopsis Review’.
KOSMOS OFFICIAL TRAILER
KOSMOS has become a pretty big deal across the Internet, especially on YouTube, where thousands have sat down to watch the trailer alone – then become hooked on watching the 5 Episode series entirely…
For us here at GWN: Online, our own thoughts on this series were very much like any other ‘Entertainment Seeker’, and by the end of Episode 1, it delivered the vital elements to watch it further.
Admittedly, many instances bring the feeling of being lost by the story-line, though this is regained by surprising intersections that bring together a more subtle continuity. The main actors, Jeff Dahlgren (Philip Huyt), Eline Van Der Velden (Amy Huyt), Virginia Hey (Diana Lord) – Best known for her role as Zhaan in Farscape – and Terry Malloy (Michael Lord) give both colour and stability to the script written by Simon Horrocks.
Episode One: opening up with the transportation of Philip Huyt’s Wife, Amy in an ambulance to the hospital, her condition stable but physically and psychologically slumped in a coma, we hear Philip’s natural reactions, his words in some way reaching his wife’s ears and bringing her comfort. Delivering a direct focus on Philip, his in character radiance expands all expectations of what this character brings to the forefront.
Amy’s parents on the other hand, feeling that their son-in-law is torturing them by having the doctors keep her alive unnecessarily. Only Philip has the hope that Amy will come out of her comatose slumber and get her strength back.
Booking in at the hotel Philip is subjected to the strange sounds of a baby crying, which when querying this at the hotel reception, he is told that there are no families with any babies booked in. It is now, with the introduction of a specialist in the area of Neurology, that Philip Huyt is intrigued by a method he believes could save his wife’s life and bring her out of the coma.
Amy’s parents again approach Philip Huyt, only this time they want their son-in-law to sign the papers that will give hospital doctors the authority to switch off his wife’s Life Support machines and so allow her to pass. Philip Huyt, however, struggling with emotional turmoil and burning hope refuses to concede to such an action.
Back at the hotel Philip is led to the lifts where he is surprised by the occupant, its shot alone signifying that he may well know the person or persons inside the lift.
Episode Two: carrying on a few moments after the lift doors open at the end of Episode One, Philip is found semi-finals on the floor, his condition of confusion and blackout clearly visible to the two men who are crouched over him. The incident now leads Philip to being checked out by a doctor, who, discovers that Mr. Huyt is a Professor in Gene Therapy, something that is put to the captive audience as a reflective insight into the possible behaviour and decision making of the main character.
Implanted with a new neural device that has not been given government approval, it is Philips last second decision in which to keep it implanted that for reasons unknown gives him more reason to wait and see the results.
Coursing through the continuity, from Philip to his In-Laws, their systematic cries for their daughter’s death echo a much louder and sinister call for alarm. The consultant, too, with a need to talk to the paramedic who brought Amy into the hospital, his grey area depiction bringing a more than valid question: What caused Amy to fall into a coma?
Meanwhile at the hospital Philip is monitoring the implant with hope that it is going to show some sign of life, memory, or just a simple sign of brain activity. Only when he decides to leave the hospital to go back to his hotel do we see the three red lights change to green – a positive sign that there is “Thought” occurring, until suddenly, as quick as it began, it stops and returns back to the intermittent red lights.
Episode Three: meeting with the paramedic that she had contacted earlier, the consultant is told that Amy was brought in while she was already in a coma, but there is no records indicating details of how or why. Told that it was “Expectant” of her condition of travel, the consultant is worried.
Confronted by both Diana and Michael about the missing details, they are asked if they know how Amy came to be in her coma, but in a turnaround, they accuse the hospital of being disorganized and incompetent of helping in their daughter’s case.
Bringing in a dark side visual display of Diana’s beating of Michael in their hotel room, it becomes clear that she will not sit by quietly for anyone.
Allowing himself to have an implant put into his head, Philip is drawn to the fact that someone – being him – would have to introduce the new therapy to Amy, and in doing so could bring her from her deep sleep. This brings emotional tears; while in another deception of using his grief against him, Diana has Philip sign the release papers on his wife. This is clearly a visual state that has all the components of a man’s saddened farewell, until suddenly something changes within the Implants display. Unfortunately, Philip again misses this indication, while Diana gives the consultant her good news that her son-in-law has signed the papers.
After receiving a phone call and confirming that Amy talked to him through the implant, he now seeks out Michael, who is found barely conscious in his hotel room with injuries that need urgent attention. But when requesting help from a mysterious woman, Philip follows her and is manhandled out of the lift by two men. It is unclear why they have taken him, but soon in progressive time he returns safely to Amy’s room, where after a few minutes sitting by her side the Implant begins to light up green on all 3 nodes.
Episode Four: awakening from her hers coma slumber, Amy appears catatonic to the world, while making her way to the roof she finds herself in a nightmarish world, where roles are reversed; Philip now lies in the hospital bed where Amy lay in her coma. Amy, however, now looking through the eyes of her husband becomes initiated in an argument with her Mother, Diana.
Dream or Reality? The overall existence that something is not right antagonizes the story. With branched cut scenes that talk of Solar Flares from the Sun and, the strange but perturbing encounter of a stranger whistling the theme tune to KOSMOS has the receptionist worried.
Visiting Michael in hospital he is almost incoherent, much to the expectations of the police who believe Philip carried out the attack. A witness, too, swears that they saw Philip trying to break down the door.
In a swift move Philip talks the receptionist into giving him another room – Room 4 – which he has her believe that it is his lucky number. This is granted and he takes up the room discreetly. Here is contacted with an arranged meeting place at the cafe across from the hospital.
Arriving at the cafe to meet Marc Zammit (Louis Lewis), Philip is drawn outside where a big crowd is gathering and looking up at the roof of the hospital – it is a woman who is about to jump off of the roof and kill herself.
Episode Five: negotiating with the woman for her not to jump, the woman tells Philip that the world is a beautiful and amazing place, and yet, her decision to jump to her death fails to deviate. She jumps. On the ground below, however, what Philip finds is an oddly dressed man giving out tokens, not the bloodied body of the suicide woman.
Meeting up with Louis Lewis, Philip reveals his memories, a distilled thought of Amy’s visionary journey from the hospital room to the lift where she is lifted at speed through the floors.
Again, Philip visits Amy in her room where he is joined by Dr. … together they sit by the bed talking about Amy and Michael, who has been asking to see Philip. It is this that has Philip going to see his Father-in-law to find out who hurt him. Diana turns up unexpectedly, but not before Michael reveals a warning of strange people hanging around and to be careful.
Finally given the medication in which to administer to Amy, Philip sits and waits while talking to her. Reminiscing of his past the green lights start to flash once again, the implant on Philips head now indicating the very same, when suddenly Philip falls forward onto the bed. The machines register Amy’s life signs increasing and Philips implant turns to intermittent red. Has Philip now fallen into a coma like his wife?
Outside, one of the dark dressed men that had taken Philip from the elevator earlier faces the night sky as a huge Sun Burst erupts and lights up the darkened clouds majestically. Taking off his sunglasses he stares into the air, his eye silverized by a peculiar and strange emblem.
This is just the beginning.
Review: After watching all five episodes of KOSMOS, we were literally left in a state of awe! The continuous introduction of something more to the story, when clearly, and in any other REAL World, what is set out in front of the viewer was a Man trying to desperately to find answers; his wife in a Coma, for which nobody, not even the hospital treating her knows why – or how – she came to be in such a deep slumber. Though this was (presumably) the Top Tone of the series, the casting of actors were found to be moderate in the reflection of their absence from any other production, except of course Virginia Hey, playing Diana (Farscape).
Nevertheless, what promised to be a “Watchable” five episode series, actually turned out to be “Unmissable” with each installment that we viewed. The Direction as to regards Simon Horrocks was indeed done to the correct levels of Drama (Diana and Michael’s side story), Intrigue (in the offset to the End Credits with Philip and Amy Huyt’s story-line) and, of course the Science Fiction (visually creeping in the background strange occurrence’s and behavioural changes).
Having Rated “KOSMOS” with its 8.2/10.00, the series has an additional “Unmissable” tag by the side, because we felt that Independent Films such as “KOSMOS”, and others, don’t receive as much acknowledgement in many places away from the Interweb. Certainly the Creator, Writer and Director has crossed the bounds of cinematic wonder by having such a unique story put to screen – whether this is the Computer Screens or Cinema Theater, for us there is no difference in the Production, just in the setting.
Of course, the question that remains to be asked, is if Mr. Simon Horrocks will be blessing us with continuation into another series? Should this be confirmed, then we here at GWN: Online will be the first to write it into our schedules.
<CLICK> To Watch Episode 1 NOW
Review Written By: MKDS (For GWN: Online)
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