RED 2
Alan Silvestri
" Really Everlasting Dribble "Written by Thomas Glorieux - Review of the limited release
The old gang is back, and I mean that literally. Bruce Willis, Hellen Mirren, Morgan Freeman and John Malkovich were the retired agents in the hit action comedy RED of 2010. This year, add Catherine Zeta-Jones and Anthony Hopkins to that list (while detracting Morgan Freeman), under the command of Dean Parisot. While the first movie was scored by Christophe Beck, Parisot went for old school composer Alan Silvestri instead. And that means, not a bad thing whatsoever (usually). Sadly, RED 2 is not that good. In fact there's no sign of inspiration at all.
This limited release of La-La Land feels than also extremely uncomfortable in a 60 minute edition. And frankly, it wouldn't have worked in a 30 minute edition. This score of Silvestri just doesn't capture the Silvestri vibe we're expecting from him. His last couple of years weren't that memorable to begin with, but most at least had a theme or moments that one could grasp on to, RED 2 unfortunately seems to meander along on the same uninspired tempo, even during the action moments. Electronic enhancements, rhythmic underscore, moody suspense, you know the drills by now. But Silvestri's music lacks melody, inspiration and basically a theme or motif to connect with, making this once again the perfect sound design for today's motion pictures.
A hook that suddenly comes out and grabs us is the funny organ music representing John Malkovich's character in "Marvin at Work" but that's hardly a footnote during the first part. Luckily there's one moment that somehow inspired Alan to compose something noteworthy, even if it's hardly memorable stuff. Nonetheless "Paris Chase" has the honor of becoming the best moment of the score. See what use of the trumpets can do? Because we're not getting the vibe once we're going international as well. There's a sense of romance once we're going "To Paris", but "To London" or "To Moscow'" refuse to insert some kind of trademark sound, meshing into one big suspenseful blur that doesn't bring anything remotely interesting.
Frankly, everything's one big moody blur after a while. The trademark sound of Silvestri hardly grabs our attention anymore, and the many many underscore moments do nothing for the album, except prolong the experience. Again, albums don't need to add more music to the play list if that list isn't interesting to begin with. And Silvestri's RED 2 is not fun, not interesting, not anything. I suppose it will function in the film, but I can only admit it is the one millionth addition to the ever increasing list of sound design soundtracks. What a wasted opportunity Mr. Silvestri.
Favorite Moment
When the CD ends
Track Listing
1. Main Title (1.18)
2. Safe House (1.39)
3. Speaking of Sarah (1.42)
4. Pentagon (2.25)
5. Han (1.29)
6. Marvin at Work (1.29)
7. Victoria Calls (3.09)
8. Han Plane Gone (1.19)
9. To Paris (2.44)
10. Paris Chase (2.40)
11. I Need You Frank (1.43)
12. Dressed to Kill (1.00)
13. To London (2.45)
14. To Moscow (4.27)
15. Hole in the Wall (3.21)
16. Sarah the Guard (2.45)
17. Catacombs (3.47)
18. Bailey Escapes (1.51)
19. Hangar Fight (2.21)
20. Entering the Embassy (2.53)
21. Plumbing (2.36)
22. London Chase (3.51)
23. Dasvidaniya (2.26)
24. Bomb Sunset (2.31)
Bonus Track
25. Main Title (synth demo) (1.19)
Total Length: 59.30
This limited release of La-La Land feels than also extremely uncomfortable in a 60 minute edition. And frankly, it wouldn't have worked in a 30 minute edition. This score of Silvestri just doesn't capture the Silvestri vibe we're expecting from him. His last couple of years weren't that memorable to begin with, but most at least had a theme or moments that one could grasp on to, RED 2 unfortunately seems to meander along on the same uninspired tempo, even during the action moments. Electronic enhancements, rhythmic underscore, moody suspense, you know the drills by now. But Silvestri's music lacks melody, inspiration and basically a theme or motif to connect with, making this once again the perfect sound design for today's motion pictures.
A hook that suddenly comes out and grabs us is the funny organ music representing John Malkovich's character in "Marvin at Work" but that's hardly a footnote during the first part. Luckily there's one moment that somehow inspired Alan to compose something noteworthy, even if it's hardly memorable stuff. Nonetheless "Paris Chase" has the honor of becoming the best moment of the score. See what use of the trumpets can do? Because we're not getting the vibe once we're going international as well. There's a sense of romance once we're going "To Paris", but "To London" or "To Moscow'" refuse to insert some kind of trademark sound, meshing into one big suspenseful blur that doesn't bring anything remotely interesting.
Frankly, everything's one big moody blur after a while. The trademark sound of Silvestri hardly grabs our attention anymore, and the many many underscore moments do nothing for the album, except prolong the experience. Again, albums don't need to add more music to the play list if that list isn't interesting to begin with. And Silvestri's RED 2 is not fun, not interesting, not anything. I suppose it will function in the film, but I can only admit it is the one millionth addition to the ever increasing list of sound design soundtracks. What a wasted opportunity Mr. Silvestri.
Favorite Moment
When the CD ends
Track Listing
1. Main Title (1.18)
2. Safe House (1.39)
3. Speaking of Sarah (1.42)
4. Pentagon (2.25)
5. Han (1.29)
6. Marvin at Work (1.29)
7. Victoria Calls (3.09)
8. Han Plane Gone (1.19)
9. To Paris (2.44)
10. Paris Chase (2.40)
11. I Need You Frank (1.43)
12. Dressed to Kill (1.00)
13. To London (2.45)
14. To Moscow (4.27)
15. Hole in the Wall (3.21)
16. Sarah the Guard (2.45)
17. Catacombs (3.47)
18. Bailey Escapes (1.51)
19. Hangar Fight (2.21)
20. Entering the Embassy (2.53)
21. Plumbing (2.36)
22. London Chase (3.51)
23. Dasvidaniya (2.26)
24. Bomb Sunset (2.31)
Bonus Track
25. Main Title (synth demo) (1.19)
Total Length: 59.30