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| Tyler |
The Expendables 2: (Brian Tyler) Anytime the
production of an action movie leaves a trail of carnage that includes
dead stunt men and complaints about environmental devastation in remote
regions, you know there's a good chance for entertainment from the
finished product. While Sylvester Stallone did not direct this, the
sequel to 2010's
The Expendables, he remained its figurehead and
lead actor, assisting to collect another phenomenal ensemble cast of
past action stars featuring Jean-Claude Van Damme, Jason Statham, Jet
Li, Dolph Lundgren, Chuck Norris, Randy Couture, Terry Crews, Bruce
Willis, and Arnold Schwarzenegger. This group chases about the world on
government and personal missions, seeking revenge for fallen comrades
and possession of Soviet-era plutonium. The formula of senseless
explosions and even more senseless humor was once again a winner for the
franchise, the self-deprecating laughs, often involving the history of
each actor in other roles, an especially worthy attraction. Critics
appreciated this stream of funnies, though most agreed that the overall
premise is, as one might expect, lacking much intellectual merit.
Indeed, a stunt man did die and another was maimed while
The
Expendables 2 was shot in Bulgaria, leading to a wrongful death
lawsuit. In the process of filming in a cave in that country, the
production apparently killed protected shrubberies and the majority of
the native bat population, too, causing fines and condemnation from an
outraged Bulgarian government. Not to be daunted by such trifles,
Stallone and crew immediately began planning a second sequel in the
franchise as the 2012 entry hauled in massive returns, leading to
speculation about which of yesteryear's action heroes were next in line
for resurrection. Composer Brian Tyler continued a collaboration with
Stallone for
The Expendables that had resulted after the
actor-director's approval of the score for
Rambo a couple of
years earlier. The resulting music for the 2010 flick was a comfortable
fit with the purpose of the production, raising traditional orchestral
action techniques while enjoying an infusion of Tyler's occasionally
more modern, bad-ass elements. Although absolutely relentless in its
bombastic force and unyielding rhythmic propulsion, the music for
The
Expendables was a surprisingly intelligent throwback to a previous
era of action scores, occasionally exposing Tyler's lingering affinity
for the mannerisms of Jerry Goldsmith. For
The Expendables 2, the
formula is, not unexpectedly, mostly the same.
Collectors of Tyler's action music will recognize that
the composer has a definite ability to breeze through these kinds of
action romps without much need to deviate within his style. In the case
of scores like
Aliens vs. Predator - Requiem and
Eagle
Eye, the results can be more interesting than expected, though he
also has proven himself capable of blasting through such assignments on
auto-pilot or in emulation of the Hans Zimmer/Remote Control domination
of the genre, as heard in
Battle: Los Angeles and parts of his
sequel scores to
The Fast and the Furious. In this regard, his
music for
The Expendables 2 and its predecessor is closer to the
former category, remaining true to those echoes of Goldsmith and the
emphasis of orchestral might over synthetic drones. The ensemble is
varied enough to give both the brass and percussion sections outstanding
workouts, the latter a normal specialty of Tyler. While the strings are
sometimes buried in the mix, they are afforded a variety of performance
techniques to keep them busy, especially the violins. There is
electronic accompaniment to most cues, it seems, but Tyler is careful to
utilize these elements like a supporting fifth section of the orchestra,
the pre-records rarely obnoxious outside of some
Battleship-inspired electronic grinding in the bass during a few
cues. Thematically, there's nothing in this franchise to solicit greater
study, though fans will appreciate Tyler's clear continuity between the
scores. The primary rising, four-note theme is almost immediately
reprised in "The Expendables Return" and developed throughout the work,
eventually becoming a longer-lined expression of greater emotional
depth. When explored in these passages, the theme strays from its
inherent 1990's Goldsmith format and enters Tyler's familiar power
anthem territory. A secondary motif of menacing simplicity for Van Damme
and his evil gang stomps its way through "Track 'Em, Find 'Em, Kill
'Em," "Respect," and "Vilain." The eruptions of theme in
The
Expendables 2 aren't quite as enjoyable this time around, in part
because Tyler doesn't attempt to provide melodic interludes of any great
length in the work. Also to consider is the fact that the choir has been
dumped from the sequel score, a substantial amount of the majesty
applied to such moments in the prior work now absent. As an overall
listening experience on album,
The Expendables 2 is a worthy
extension of the straight action portions of the 2010 score (with few
breathers), and thankfully the album length has been shortened to limit
sonic exhaustion. This is yet another predictably workmanlike,
three-star effort from Tyler, whose career in the action genre has
become defined by entertaining music that is as reliable as it is
anonymous.
*** @Amazon.com: CD or
Download
| Bias Check: |
For Brian Tyler reviews at Filmtracks, the average editorial rating is 3.32
(in 32 reviews)
and the average viewer rating is 3.1
(in 15,275 votes). The maximum rating is 5 stars.
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The insert of neither album includes extra information about the score or film.
