While the thematic core of Örvarsson's The Hitman's Bodyguard returns in the sequel, be prepared for a shifting of the instrumental emphasis. The prior work emphasized the Hammond organ, guitars, percussion, and bluesy vocals of vintage appeal whereas The Hitman's Wife's Bodyguard carries over only some of those elements and punches upward with massive orchestral accompaniment. Both scores are purely parody romps, but the 2021 outing infuses the symphonic snazziness with the same tone of Edward Shearmur's Johnny English while resorting to a few Remote Control traditions during darker passages. In its favor is a splendid recording mix, guitars, harmonica, and other accents really well interpolated into a vibrantly wet mix that pushes percussion further back into the soundscape so other colors can shine. Sadly, though, the stylish vocals are gone and some of the instrumental uniqueness, especially from accordion, is diminished. The orchestra is robust, however, and with the twinkling cimbalom continuing from villain to villain, the overall shift is moderately positive. Örvarsson does employ some synthetic elements, though manipulation is minimal; a sudden, intentionally error-like cutoff to "Bryce's Father" is obnoxious, however. The guitars ultimately save the day in the mix, their coolness bringing the score a more timeless espionage sound compared to the Hammond organ, which is still present at times. The thematic development in The Hitman's Wife's Bodyguard is a mixed bag, satisfying in the exploration of its ideas but not enjoying enough narrative maturation by the end to appreciate outside of each individual statement along the journey. The main theme of The Hitman's Bodyguard was a doozy, and its larger-than-life funk and jazz personality is reprised from the cues "Hitman's Bodyguard" and "Smells Like Ass Back Here" in that work. The composer's application of the idea in "The Hitman's Wife's Bodyguard" features a much-accelerated tempo, which is a bit jarring. Thereafter, the idea is often fragmented in its melodic references, the underlying rhythmic riffs more frequently accessed. Portions of the phrasing recur in the latter half of "Helicopter Chase" and "Aristotle Captures the Gang" for instance, while only the riff is carried in "Kidnapped by Interpol" and "Cafe Shootout."

Some of the better moments in The Hitman's Wife's Bodyguard come when Örvarsson allows both the main theme and its underlying rhythm to let rip together. Their pairing exists in suspense or muted action mode in "Sonia & Bryce Rescue Darius" and "Decoy Boat" before "Fantasy Escape" finally unleashes them at 1:05 with full James Bond explosiveness, yielding a momentous ending. That said, the latter half of the score isn't flush with these outstanding statements, pieces of the theme and rhythm stewing on piano in "Sea Burial" and "Fight Magnusson and Zento" returning to suspense fragments for the rhythm and theme. On the upside, Örvarsson does explore a massively epic action variant of the main melody with the orchestra, but not often. This fuller symphonic version of the theme almost resurrects Jerry Goldsmith and Air Force One in the opening suite, "The Hitman's Wife's Bodyguard." That recording starts with this extension in bloated brass and takes a noble, militaristic stance for solo trumpet at 1:14. A single phrase from this mode is reprised at 2:22 into "Helicopter Chase," and Örvarsson unfortunately abandons that deviation thereafter. Another important holdover from the first score is the sentimental family theme, which bases some of its progressions on the main one. In The Hitman's Bodyguard, this idea was expressed in "One of the Good Guys?" and "Broken Wing" by piano, gospel voices, accordion, and Hammond organ. In this score, its performances are still anchored by piano but joined more frequently by symphonic elements. A brief string interlude at 0:51 into "The Hitman's Wife's Bodyguard" is a nice touch, though the idea really gains depth as it is developed throughout all of "Flashback of Mom." Hints of the theme denote peril for the leading couple late in "Aristotle Captures the Gang" and at 1:24 into "Save Europe." Further renditions of the full theme occupy "Bryce's Father," with accordion and piano at the outset and strings and Hammond organ by the end. A tentative statement on woodwinds at 0:47 into "Sonia Calls Kincaid" is matched by an appropriately faint, tortured version on strings in the cue of spoiler title, "Dad Works for Aristotle." A brief but full ensemble moment for the theme caps "Sea Burial" at 0:55 into the cue. This idea doesn't explicitly inform the conclusive "The Honeymoon," Örvarsson content to rather emphasize parody style over a clear narrative wrap.

One of the weaknesses of the score for The Hitman's Bodyguard was its theme for the villain, summarized in the cue "Dukovich" and using a prickly cimbalom motif for the character. Örvarsson must have been at peace carrying over that instrumental representation to the new baddie, and it works as a vaguely foreign and cold sound. Most of the Dukovich theme is dropped for Aristotle in this score, though the main four notes of the Aristotle theme were actually previewed as a secondary conclusion to the Dukovich theme at 1:05 into "Dukovich." The idea punctuates a nasty crescendo of dissonance at 2:42 into "The Hitman's Wife's Bodyguard" but is fleshed out with large, menacing orchestral force at the start of "Aristotle Theme," which returns to the cimbalom suspense in its middle before the obligatory James Bond villain sendoff at the conclusion of the cue. The theme is faithfully interpolated by Örvarsson in the numerous action and espionage cues thereafter, a brass rendition at 0:33 into "Helicopter Chase" serving as a snazzy announcement of the idea in that scene. Stylish, ominous hints early in "Kidnapped by Interpol" are cool, while cimbalom shifts the idea back to creepiness in "Aristotle Captures the Gang" and dissonance shades the idea late in "Sonia Calls Kincaid." The theme returns to super-villain mode at the outset and end of "Save Europe," the same bloated stance closing "Aristotle Kills Leaker." The greatest weakness of the music for The Hitman's Wife's Bodyguard is Örvarsson's inability to really fold these themes into satisfying climaxes. There is no truly kick-ass action culmination in this score at all, its final cues underwhelming. The distinctly Mediterranean romantic ending in "The Honeymoon" with guitars is nice but betrays too much parody for the album's end. A few of the best cues have challenging portions as well, the suite-like "The Hitman's Wife's Bodyguard" ruined by a tough crescendo for the villain material in its final third. Perhaps the best cue is the high style of "Kidnapped by Interpol," with upright bass and percussion attitude reflecting Brian Tyler's Now You See Me scores. Overall, The Hitman's Wife's Bodyguard is an undemanding and fun listening experience, one recommended for those who don't particularly care about tight narratives. There's less of the blues and gospel tone, which is a detriment, but the use of the orchestra as a replacement for the greater action element and villain threat is admirable. The score alone was released on a 40-minute album, an engaging but not fully realized supplement to Örvarsson's work for the prior film.  ***   @Amazon.com: CD or Download