SUPPORT FILMTRACKS! CLICK HERE FIRST:
Amazon.com
Amazon.co.uk
iTunes (U.S.)
Amazon.ca
Amazon.fr
eBay (U.S.)
Amazon.de
Amazon.es
Half.com
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
Composers
Awards
   NEWEST MAJOR REVIEWS:
     1. Godzilla: King of the Monsters
    2. Aladdin (2019)
   3. Pokémon Detective Pikachu
  4. Avengers: Endgame
 5. Shazam!
6. Dumbo
   CURRENT MOST POPULAR REVIEWS:
         1. Gladiator
        2. Batman
       3. Nightmare Before Christmas
      4. Titanic
     5. Justice League
    6. Star Wars: The Last Jedi
   7. Harry Potter: Sorcerer's Stone
  8. Maleficent
 9. Star Wars: The Force Awakens
10. Edward Scissorhands
Home Page
The Mummy Returns
(2001)
Album Cover Art
2001 Decca
2018 Intrada
Album 2 Cover Art
Composed, Conducted, and Co-Produced by:

Co-Produced by:
David Bifano

Orchestrated by:
Mark McKenzie
David Slonaker
William Ross

Performed by:
The Sinfonia of London Orchestra and Chorus
Labels Icon
LABELS & RELEASE DATES
Decca Records
(May 1st, 2001)

Intrada Records
(July 16th, 2018)
Availability Icon
ALBUM AVAILABILITY
The 2001 Decca album was a regular U.S. release. The 2018 Intrada album is limited to an unknown number of copies and retailed at soundtrack specialty outlets for an initial price of $30.
Awards
AWARDS
None.
Also See Icon
ALSO SEE





Decorative Nonsense
PRINTER FRIENDLY VIEW
(inverts site colors)



   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you seek one of the few adventure scores that can compete with John Debney's Cutthroat Island in terms of adventuresome spirit, sustained tonality, and noisy bombast.

Avoid it... if you demand thematic continuity in the scores of this franchise, none of which exists amongst the shared instrumental stereotypes exercised in each entry.
Review Icon
EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #117
WRITTEN 5/1/01, REVISED 1/18/19
Silvestri
Silvestri
The Mummy Returns: (Alan Silvestri) When 1999's The Mummy surprised Universal and grossed $400 million worldwide, the studio decided immediately to develop a franchise out of the concept, assembling almost the entire cast and crew from the first film for 2001's summer blockbuster, The Mummy Returns. The only problem with that idea was in the dryness of the well from which inspiration was taken for its script. There simply existed nothing new for The Mummy Returns to add to an already spent equation, and the insertion of a small role for wrestler Dwayne "The Rock" Johnson as the Scorpion King was an obvious move to establish a connection for the third film in the trilogy that indeed did come down the pipes not long after. The same characters once again face off in ancient and 1930's Egypt with the aid of curses and resurrections, their chemistry strained by familiar suspense and action circumstances. The production values of The Mummy Returns are undeniably improved over those in the first film, but a sense of deja vu in the plot cripples the entire film. One person who thought that the franchise was trash from the outset was legendary composer Jerry Goldsmith, whose grandiose score for the 1999 film is revered by his collectors as a guilty pleasure at the least. Goldsmith's public dismay with the fact that his career had diminished to extent that it included films like The Mummy obviously removed him from consideration when it came time to score the sequel, this despite the respect he had earned from Stephen Sommers. The director had originally wanted Alan Silvestri to score his horror/adventure flick Deep Sea Rising before Goldsmith stepped in for that embarrassment, so he turned to Silvestri for this project instead. Fans greeted the assignment with curiosity and some optimism; with his previous two scores representing minimalism (Cast Away) and parody (The Mexican) with decent results, some were skeptical that Silvestri could pour on the orchestral might necessary for this non-stop action thriller. But with Silvestri came an equally experienced adventure scorer, a man who had impressed audiences through the years with this highly functional and occasionally memorable action material.

Along with the sequel film's attempt to be a cinematic marvel with its improved special effects, the script has very few moments of extended peace in its narrative. The challenge for Silvestri was to produce almost two hours of unyielding action music heavy on brass and chorus for The Mummy Returns without allowing the music to become a cliche of generic scores of the genre. The composer ultimately succeeds in keeping the pace of the score moving without allowing it to become too repetitious or missing opportunities for valuable tonal statements of grandeur. Goldsmith's score for the original film was highlighted by a handful of momentous bursts of thematic material, though the vast majority of music from The Mummy blended together in the kind of anonymous fashion that Goldsmith had tended to embrace in the last years of his career. Because of Silvestri's basic approach of scoring each battle or chase with a rhythmically and thematically melodramatic technique, Silvestri's music is ultimately more enjoyable than that of Goldsmith in terms of quality ruckus. Silvestri avoids the use of the orchestra as a mere sound effect, as Goldsmith did, developing each cue into a substantially tonal piece of music and causing The Mummy Returns to be a more listenable score when divorced from the visuals. As heard in the context of the film, Silvestri's work does tend to be mixed so heavily that it becomes wallpaper at times, and some listeners may find the same to be true on album. Like its predecessor, this score is rooted in stereotypical faux-Egyptian chord progressions and instrumentation. In other words, Silvestri doesn't attempt to re-invent the wheel. Although he uses a considerable amount of percussion for his music, it is easily the brass section which dominates The Mummy Returns. If an adventure film calls for a score of enormous presence in the film (if not for the mere fact that it has to compete with the sound effects), there is no better method of success than hiring a large brass ensemble to blast the score into relevance. In this case, the composer had all the sections, including the chorus, recorded together as a single unit on the stage, but for the action scenes aplenty, Silvestri sets up a primary base of almost constant, rhythmic percussion (mainly in the form of a variety of medium-range drums) and then layers the trombones, trumpets, and French horns into lengthy performances of the thematic ideas on top.



Ratings Icon
VIEWER RATINGS
6,103 TOTAL VOTES
Average: 3.97 Stars
***** 2,924 5 Stars
**** 1,434 4 Stars
*** 843 3 Stars
** 492 2 Stars
* 410 1 Stars
  (View results for all titles)

Comments Icon
COMMENTS
173 TOTAL COMMENTS
Read All Start New Thread Search Comments
Track listing of the complete score bootleg?   Expand >>
Imothep - April 22, 2006, at 4:03 p.m.
5 comments  (7001 views)
Newest: December 12, 2009, at 6:49 a.m. by
Edmund Meinerts
complete score
moondog - August 30, 2005, at 10:58 a.m.
1 comment  (2287 views)
Expanded Release
Christian Harding - March 20, 2005, at 3:01 p.m.
1 comment  (2239 views)
Allright children, let's see what daddy has to say about reel 1...   Expand >>
tim - August 10, 2003, at 7:11 p.m.
3 comments  (3998 views)
Newest: September 14, 2003, at 5:44 a.m. by
Jim Ware
End Credits   Expand >>
Josh - August 6, 2003, at 7:49 p.m.
2 comments  (3755 views)
Newest: August 23, 2003, at 2:23 a.m. by
Levente Benedek
Where's the score for the last 15 minutes of the film?   Expand >>
Vestard - January 28, 2003, at 1:11 p.m.
3 comments  (4035 views)
Newest: May 26, 2003, at 3:00 a.m. by
Mark - 224
More...


Track Listings Icon
TRACK LISTINGS AND AUDIO
Audio Samples   ▼
2001 Decca Album Tracks   ▼Total Time: 73:34
• 1. The Legend of the Scorpion King (4:55)
• 2. Scorpion Shoes (4:24)
• 3. Imhotep Unearthed (4:22)
• 4. Just an Oasis (1:25)
• 5. Bracelet Awakens (1:28)
• 6. Evy Kidnapped (5:55)
• 7. Rick's Tattoo (1:59)
• 8. Imhotep Reborn (2:42)
• 9. My First Bus Ride (7:45)
• 10. The Mushy Part (2:42)
• 11. A Gift and a Curse (5:32)
• 12. Medjai Commanders (2:03)
• 13. Evy Remembers (4:03)
• 14. Sandcastles (3:22)
• 15. We're in Trouble (2:18)
• 16. Pygmy Attack (3:31)
• 17. Come Back Evy (3:29)
• 18. The Mummy Returns (7:44)
• 19. Forever May Not Be Long Enough - performed by Live (3:47)
2018 Intrada Album Tracks   ▼Total Time: 147:27

Notes Icon
NOTES AND QUOTES
The insert of the 2001 Decca album includes extensive credits and pictures but no extra information about the score or film. It is arranged in a folding poster layout that is difficult to condense once opened. The insert of the 2018 Intrada product includes extensive information about the film, score, and release, with the exception of a list of performers.
Copyright © 2001-2019, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from The Mummy Returns are Copyright © 2001, 2018, Decca Records, Intrada Records and cannot be redistributed without the label's expressed written consent. Page created 5/1/01 and last updated 1/18/19.
Reviews Preload Scoreboard decoration Ratings Preload Composers Preload Awards Preload Home Preload Search Preload