Starship Troopers 2: Hero of the Federation


Colosseum (4005939658120)
Varèse Sarabande (0030206658125)
Movie | Released: 2004 | Film release: 2004 | Format: CD
 

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# Track   Duration
1.Fed Net1:47
2.Battle at Z.A.3:54
3.Retreat to Devil’s Anvil0:33
4.Storm2:16
5.The Fortress1:26
6.Red River Mercy0:43
7.Fortress Search2:57
8.Attack!3:53
9.Dax Released / Perimeter Burn2:41
10.DMZ1:20
11.Bug Zapper1:08
12.Reunion2:36
13.Sniff Factor1:31
14.Psychic Shakedown2:46
15.Kitchen Scene1:07
16.Soda Wakes1:21
17.Door Jam2:15
18.Reappearing Cream1:20
19.Soda’s Tongue1:38
20.Joe’s Smile0:45
21.Sahara and Dax/Taps2:12
22.Finger Food1:16
23.Vision Dream1:23
24.Spying on the General1:00
25.Tail O’ the Bug1:27
26.Transition0:51
27.Meeting with Dill1:52
28.Lieutenant Dill’s Death2:19
29.Dax Arrested1:03
30.The Rape of Rake2:18
31.Vengeance4:43
32.Rake’s Sacrifice1:26
33.Soda Fizzles1:16
34.The General Explains1:09
35.Kill Them All!1:33
36.Dax’s Last Stand2:41
37.Fed Net / Epilogue1:46
38.End Credits4:44
 72:55
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Starship Troopers 2: Hero of the Federation - 06/10 - Review of Tom Daish, submitted at (English)
Call me a freak (many do), but Starship Troopers is probably one of my favourite sci-fi films. Well, that's not quite true, it's more sci-fi satire in the way that Star Trek is sci-fi moralising. As I commented in my review of Basil Poledouris' terrific score for the Paul Verhoven's unfairly maligned original, I can't help feel that a large proportion of the audience missed the point, not seeing the cheesiness as a satirical cover for a grim and all too real commentary on governments and the military. However, it did good enough business to spawn a made for DVD sequel, although that rather seems like damnation through faint praise. In the director's chair is the less satirically inclined Phil Tippett - the special effects guru - and at the scoring stage the duo of John Morgan and William Stromberg.

It's perhaps a touch depressing to contemplate that skilled composers such as Morgan and Stromberg were probably brought in for being more economical than someone like Poledouris, but at least it means that even if the producers are saving money, they aren't skimping on quality. Reference to Poledouris' original are rare and fleeting, with a hint in Battle at Z.A. and in the End Credits, but otherwise this is Morgan and Stromberg filtering their experience of scores new and old into a contemporary action flick. Perhaps the most disappointing aspect is that unlike Poledouris' striking themes for the original, much of the sequel's music is less melodically engaging and the most memorable tune is a limp riff on Hans Zimmer's Backdraft in the opening Fed Net - a shame that Poledouris' original march wasn't used - but it smacks of a director in love with his temp track than composers incapable of writing their own tunes.

Morgan and Stromberg seem largely incapable of writing music that isn't somehow rather intense. The action might not reach the level of chaotic fervour in Poledouris' score, but it certainly isn't lacking in density and gravity. Many of the reviews of the film commented on the music's positive impact and it's undoubtedly fundamental in papering over the cracks left by no name actors in a low budget sequel. Where the original had lavish battles, the sequel takes a smaller scale so after the excitement of the opening cues, it settles into a slower pace of suspense and nominally character building moments. The pair's love of Bernard Herrmann becomes apparent with many tracks built on little musical cells, much in the manner of their score to Trinity and Beyond. The character underscore is of a more American bent, with quiet trumpet fanfares and gentle strings, but somehow much of the warmth seems sucked out.

The Moscow Symphony Orchestra perform bracingly, even if their playing lacks the polish of the London or Hollywood orchestras at times. However, the brutish, typically Russian brass - horns especially - actually works quite well in context. The abundance of tracks isn't an issue as many blend into the next, but at almost one and a quarter hours, it starts to stagnate somewhat in the middle when one short, rather quiet cue melts meanderingly into the next. With all due respect to a pair of talented composers, I'd rather have had an hour and a quarter of Poledouris' and half an hour of their score. The best parts are very fine indeed, but there is still rather a bit of filler and while perfect for the film, aren't much fun on disc. The action is often striking and there are bursts in the middle which are expertly concocted with vibrant orchestration. Worth checking out for the high points, but just a bit intense and serious (not to mention long) for its own good.
Starship Troopers 2: Hero of the Federation - 06/10 - Review of Lammert de Wit, submitted at (Dutch)
De originele Starship Troopers kennen we van Paul Verhoeven. Een soort van pulp-aktiethriller. Deel 2 is niet uitgebleven. Heldhaftigheid tegenover kwaadaardige buitenaardse wezens verkoopt gewoon goed.

De score van John Morgan en William Stromberg is dan ook een mix van thrillermuziek en epische melodische tracks. De thrillertracks hebben veruit de overhand, waardoor deze score niet echt mijn 'ding' is. De duistere en eentonige synthesizerklanken kunnen mij niet bekoren, net zo min als de percussie die op veel momenten inzet.
Hiertegenover staan echter een aantal prachtige epische tracks. De score begint ook met zo'n mooie track: Fed Net, met een mooie heldhaftige marsachtige blazermelodie. In de track Reunion speelt vooral de hoorn een mooie rol.
Deze prachtige, sterke melodieën komen terug in diverse tracks, maar vooral aan het einde van de score: Fed Net Epilogue en de End Credits.
Al met al bestaat de score voor tweederde uit thrillertracks en voor eenderde uit mooie rustige en epische tracks die zeer de moeite waard zijn. Als ik dat dan uitmiddel kom ik op een gemiddelde waardering van een zesje.


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