|1.||Nuggets & Bullets||1:49|
|3.||Heading For The Swamp||2:26|
|5.||Eyes on the City||2:17|
|8.||The Front Gate||2:25|
|9.||Free To Go||2:37|
| ||29:43| Submit your review
The Fugitive was such a great success that a sequel was almost inevitable. Since the film was meant to be a self contained version of the original on going television series, any sequel would have to function on its own and by some stroke of luck, they retained Tommy Lee Jones in his Oscar winning role as the US Marshal out to re-capture Harrison Ford's Dr Richard Kimble. Unfortunately, without the satisfying premise of the original, the sequel suffered somewhat in comparison, despite an excellent performance from Jones, good ones from both Wesley Snipes and Robert Downey Jnr. and taut direction. James Newton Howard was either unwilling or unavailable to continue his success from the original and so it fell to Jerry Goldsmith instead.
Whereas Howard's original effort was able to bounce off the sympathy for Dr Kimble's predicament as well as the will they/won't they catch him aspect, Goldsmith was provided with a much more average action thriller. As a result, the music is a somewhat of a more routine affair, but is certainly not without its moments. The main theme is a five note fanfare motif that became amended and recycled for succeeding scores and is used to good effect throughout US Marshals. Several of the action sequences combining brass, percussion and a few synth effects with typical Goldsmithian panache. Sinking PLane and The Front Gate being particularly note worthy, although Heading for the Swamp and latter portions of Swamp Search contain some pretty robust action. The clanking synth effect used to delineate the Borg for Star Trek: First Contact appears a couple of time during the suspense passages which often feature another Goldsmith favourite, the low end piano and high strings, but are considerably more interesting than the suspense work of most composers.
In contrast to Howard's really rather downbeat finale from The Fugitive, Goldsmith goes for uplifting with his almost heraldic full orchestra version of the main theme in Free to Go. Definitely the kind of score where half an hour is plenty long enough and containing all the music from the most important scenes in the film. Not a classic Goldsmith score, but given the material, this was unlikely, but still showing the high level of craftsmanship that Goldsmith can bring to any film.
Other releases of U.S. Marshals (1998):