Meet the Fockers

While unnecessary sequels have always been a staple of movie making, one could at least argue that Meet the Fockers had the legitimate excuse of another set of parents around whom Ben Stiller can make a tit of himself. Like the original, the sequel is no comedy masterpiece, but probably better than I ever expected (maybe I aim too low these days) and just about able to justify its existence. Randy Newman has only worked on one sequel previously, Toy Story 2 by which time he had matured his Pixar style to produce a worthy spinoff. While few Newman scores could be deemed to be failures, Meet the Parents is perhaps one of his least interesting - the surprising lack of a discernible emotional core perhaps the biggest drawback - in truth, Meet the Fockers carries on where the original score left off, neither better nor worse, largely more of the same.

Two Newman songs open the album, with a little more rockability than some of his recent movie songs and a nice change from his ragtime efforts. It also adds a little variety to his movie songs which, to my mind, sometimes unfairly tarnish the repute of his song writing skills in the minds of many listeners who conclude he only has one style (warmly grouchy ragtime). Of course, anyone who owns even one of his studio albums will know this to be complete tripe. Still, both We're Gonna Get Married (with a little of the heavenly opening chorus that started Meet the Parents) and Crazy 'Bout My Baby are good fun that, as with all Newman songs, don't outstay their welcome with tiresome repetition.

As noted, the original didn't linger much on the dramatic angle of the story, sticking resolutely to the comedy aspects and so too is the case here. The comically sinister motif from the original is reprised for Baby and Me, but soon gives way to more light hearted bouncing around that again recalls the playful tone of his Pixar scores. The titular central cue is perhaps the best developed, moving into an effectively exciting piece of light hearted action which brings back the thrill of feistier parts of A Bug's Life. Action with darker tones crops up in the final score cue and leaves one with the impression of a score slightly more impressive and solid than, in truth, it really is. As with the original, the score is brief and the album is rounded out by a few pleasantly inoffensive songs, although no Newman covers this time.

Newman's record as a film composer speaks for itself in terms of quality and even here, there is a surprising level of detail to even the more innocuous Mickey Moused sections. However, no matter good that style of writing, it very rarely makes memorable music and the lack of strong thematic or dramatic content ensures that Meet the Fockers simply isn't that memorable and only the songs stick in the mind to any great extent. Here's hoping that the composers receives some weightier material to tackle in future - it feels like a long time since Pleasantville, Avalon or Awakenings. Well wrought, two enjoyable songs, but for Newman completists only, I would suggest.