Buy it... if you seek an emotionally deeper, faithfully symphonic alternative to the outbreak of synthetically derivative scores of hyperactive trash for recent films of this nonstop action variety.

Avoid it... if you expect the highlighting choral and thematic elements of Brian Tyler's music to be able to float an otherwise exhausting listening experience on an album that needed some trimming to better illuminate its impressive portions.

Tyler

The Expendables: (Brian Tyler) Impressive casting isn't everything. That's the lesson to be learned by writer, director, and actor Sylvester Stallone from the disappointing critical and arguably underachieving domestic box office reactions to his 2010 mega-action endeavor, The Expendables. So much time was spent on coordinating the ultimate in kick-ass action casts (the ensemble includes Stallone, Bruce Willis, Jason Statham, Jet Li, Dolph Lundgren, Eric Roberts, Randy Couture, Steve Austin, Terry Crews, Mickey Rourke, and even Governor Arnold Schwarzenegger in a cameo) that apparently little though was given to a decent story or even a satisfying set of one-liners. Also a detriment in The Expendables is Stallone's choice to embrace the haphazard, frenzied style of camera work that makes many action thrillers impossible to follow nowadays, a move symbolic of the role of this film as one massive excuse for nonstop violent action. In that limited purpose, the cast of The Expendables shines, and one area in which Stallone actually stays true to his 1980's action roots in his choice of music for the project. Aside from the application of Southern rock and bluegrass elements applied in the songs chosen for parts of the film, Stallone wanted the emotional depth of a large-scale orchestral score. He turned once again to his Rambo collaborator Brian Tyler to handle this assignment, specifically requesting a score that not only uses live symphonic elements to propel the action, but an emotional heart to address the sense of redemption felt by the protagonists. The melodramatic theme and choral accompaniment that results from Tyler for the highlights of The Expendables are an example of that divergence from the norm in straight technologically-dominated action scoring in this era, and that speaks to the composer's tendency to hold on to 1980's and 1990's sensibilities in his music (making him a good match for Stallone in this case). While the industry barrels further into the realm of sample-oriented, hyperactive, synthetic action styles, Tyler is among the few in the younger generation of composers (along with John Ottman and a few others who defy the dominant Hans Zimmer influence in industry and audience expectations) who seem to truly advocate an orchestral foundation for scores that otherwise would be generated with few, if any, live players. Had one of the plethora of Zimmer clones from Remote Control handled The Expendables, a basically effective but highly derivative two-star score would undoubtedly have resulted. While Tyler's work for the film isn't among his best, it still suits both the topic and his orchestral inclinations well enough to classify it as above average in its whole and outstanding in its highlights.

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Although the score for The Expendables ultimately becomes a bit redundant and generalized in its latter half (the album simply runs too long; while it's nice to have 70+ minutes to enjoy, some of the material betrays the listening experience), Tyler as usual presents an interesting piece of orchestrally-geared ruckus. Among the highlights of the score is a subtly of its construct; if you compare this score to the frantic ostinato style of synthetically-aided, rhythmic action as in something like James Newton Howard's Salt or the John Powell scores from which that was somewhat derived (or even Tyler's own Eagle Eye), you hear pieces of Jerry Goldsmith mannerisms battling to survive in The Expendables. Longer lines of harmonic development over slower tempos exist at the heart of many action cues in this score, masked for sure by wildly explosive secondary lines for violins and others, but still a welcome holdover at the foundation from Stallone's heyday. Some listeners will hear some additional elements from the ensemble mess otherwise known as The Rock, especially in the rather tragic, simplistic minor-key muscle of the cues with choral depth that search for questionable sympathy. Like most related Tyler scores, The Expendables is a treat for percussion enthusiasts, though listeners expecting the composer to whip up a significant amount of Latin flair for the setting of the film might be disappointed. There are guitar interludes for conversational moments and items like maracas and castanets employed at times, but it's easy to hear that the 80 orchestral players in Prague were the primary focus of the composition. The title theme isn't as memorable as others representing Stallone films, but its major performances of simplistic harmonious glory are satisfying. The opening, "The Expendables," is easily the highlight of the score (and possibly a candidate for cue of the year), and development from the soft reflective expressions in "Lee and Lacy" to the quickened pace and larger scope of "Massive" will appeal to most collectors. Unfortunately, after the first five tracks on the album for The Expendables, the score largely spins its wheels. Perhaps there is a ceiling to the level of intelligent development in this kind of assignment, for after an hour's worth of this music, it fails to hold much interest. The personal connections that Tyler makes in the opening cues are replaced by effective but somewhat stale action cues that try desperately to maintain an adrenaline rush to meet the need for such a feeling for so long in the film. Overall, however, Tyler succeeds in his task of bringing a bit more depth to today's average action fare, and had the album been trimmed to 40 minutes of score (and perhaps included some of the Creedence Clearwater Revival songs from the film), a 4-star rating would have been merited. While most composers of his generation would be happy to serve up two-star trash to earn a paycheck for this kind of movie, Tyler continues to strive for better results.   Amazon.com Price Hunt: CD or Download

Music as Written for the Film: ****
Music as Heard on Album: ***
Overall: ***

Bias Check:

For Brian Tyler reviews at Filmtracks, the average editorial rating is 3.24 (in 22 reviews) and the average viewer rating is 3.11 (in 12,201 votes). The maximum rating is 5 stars.