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Orchestrated by:
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Ralph Ferraro
Randy Edelman
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Release Date:
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November 19th, 2002
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Audio Clips:
1. Prague Arrival (0:33), 165K xxx1.ra
5. Anarchy 99 (0:31), 156K xxx5.ra
12. Motorcycle Assault (0:30), 150K xxx12.ra
15. X Marks the Spot (0:31), 155K xxx15.ra
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Availability:
Regular U.S. release.
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Filmtracks Recommends:
Buy it... if the prospect of hearing Randy Edelman take a page from a
Media Ventures score is an intriguing action twist for you.
Avoid it... if the songs are your preference, or if you want one of
Edelman's more interesting scores for a Cohen adventure film.
Filmtracks Editorial Review:
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| | Edelman | |
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XXX: (Randy Edelman) In an era when ridiculous,
franchise-imitating films are reigning supreme in Hollywood, it's amazing to
realize just how well XXX fared in 2002. By no means trying to mask
itself as something else, the film is a blatant rip-off of the James Bond
formula of films, a formula that lacks much intelligence to begin with.
Replacing the classy Bond persona in this case is an extreme sports fanatic
and brute portrayed by Vin Diesel, whose appearance in the role was an
attempt to put a badguy muscle-man into a Bond role. The shameless
production nevertheless succeeded beyond the wildest expectations, and has
sequel opportunities written all over it. The film was directed by Rob
Cohen, and thus the score became the assignment of his long-time
collaborator, Randy Edelman. While Edelman wouldn't be the first composer to
come to mind in this case, the composer and director teamed up for a strong
year in 1996 alone, with Daylight and Dragonheart establishing
themselves as an adequate, if not entertaining duo. The seedy nature of
project, not to mention the lacking of sophistication, would seemed to have
suggested that a Media Ventures hack job of a score would be called for.
Certainly, unless the film wanted to go all the way in its Bond borrowings
and pursue David Arnold (or the equally capable Edward Shearmur), then one
of the electronically-minded pupils of Hans Zimmer would have been a logical
fit. Nevertheless, Randy Edelman has shown his ability adapt himself to a
variety of scoring situations, and it should come as no surprise that his
score for XXX better resembles a Media Ventures job rather than one
of this own. The score in the film was often pushed out of the way by
hideous, trashy hard rock and electro-club songs, and thus, Edelman's score
often attempts to keep up the same level of adrenaline by using utilizing
volume instead of tact.
The large orchestral ensemble, featuring an enormous bass
section, is deceiving, however. Despite that potential amount of robust
orchestral sound that could have been delivered through that ensemble,
Edelman falls back on the synthesized keyboarding and electronic pounding
that Media Ventures score fans will instantly recognize from half a dozen
scores. The synthetic percussion alone is a driving force in the music, and
in cues such as "Anarchy 99," the harsh, abrasive spirit of the electronics
are overbearing and irritating. Much of the action music follows a similar
avenue, sometimes with an electric guitar, and sometimes with Edelman's
catchy spy theme. Almost as though it was taken from a 1960's television spy
drama, the nifty tune establishes itself strongly in the second half of the
score (and especially the enjoyable finale cue), performed with vigor and a
hip electronic rhythm. Other than a few impressive brass performances of
this title theme, it's a theme that begs for more development and attention.
If anything, a super human dork running through explosions and getting the
girl at the end should at least have a better-established thematic
accompaniment for his endeavors. The secondary themes and motifs in
XXX are even less developed, with the character cue for "Elena"
lacking any elegance or appeal. Other cues attempt to infuse an ethnic or
otherwise unique instrumental spirit to the mix, such as the use of strings
in the opening "Prague Arrival" cue. But these cues are often stifled by the
synthetic pounding which surrounds them. With all of these parts, the score
as whole has a dumbed down cohesiveness that ironically holds it together as
a decent listening experience. If your tolerance for harsh electronic
sampling is considerable, then you may very well find XXX to be a
thrilling score. If you value any level of intelligence or creativity in
your scores, then XXX will slap you in the fact at every turn. If
seeking out the score, be sure to avoid the earlier song-only album for the
film. **
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Viewer Ratings and Comments:
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• 1. Prague Arrival (1:52)
• 2. Washington Searches for the Right Man (3:31)
• 3. A Distorted View of the World (2:21)
• 4. Czech Cavalry (1:45)
• 5. Anarchy 99 (2:02)
• 6. Elena (1:52)
• 7. The Changing Science of Ahab (3:10)
• 8. A Kiss on the Rooftop (3:03)
• 9. El Jefe in the Colombian Drug Fields (1:16)
• 10. Finding Paradise in Bora Bora (1:50)
• 11. Lions and Gibbons (2:03)
• 12. Motorcycle Assault (4:05)
• 13. In Xander's Zone (2:03)
• 14. Your Eyes Give You Away (2:04)
• 15. X Marks the Spot (3:42)
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The insert includes a list of performers, but no extra information about the score or film.
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