{"id":4938,"date":"2012-05-24T00:19:42","date_gmt":"2012-05-24T04:19:42","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=4938"},"modified":"2012-05-24T00:19:42","modified_gmt":"2012-05-24T04:19:42","slug":"cd-speed-2-cruise-control-1997","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=4938","title":{"rendered":"CD: Speed 2 &#8211; Cruise Control (1997)"},"content":{"rendered":"<p><em><strong>Return to<\/strong>:\u00a0<a href=\"http:\/\/kqek.com\/mobile\">Home <\/a>\/\u00a0<a href=\"http:\/\/kqek.com\/mobile\/?page_id=9\">Soundtrack \u00a0Reviews<\/a> \/ <\/em><a href=\"http:\/\/kqek.com\/mobile\/?page_id=1511\">S<\/a><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><a href=\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2012\/05\/Speed2_s.gif\"><img loading=\"lazy\" class=\"alignleft size-full wp-image-4947\" title=\"Speed2_s\" src=\"http:\/\/kqek.com\/mobile\/wp-content\/uploads\/2012\/05\/Speed2_s.gif\" alt=\"\" width=\"120\" height=\"120\" \/><\/a>Rating: Very Good<\/p>\n<p>Label: LLLCD-1138\/ Released: June 15, 2010<\/p>\n<p>Tracks &amp; Album Length: 14 tracks \/ (70:24)<\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p>Special Notes: 20-page colour booklet with liner notes by Daniel Schweiger \/ Limited to 3000 copies.<\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p>Composer: Mark Mancina<\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p>Review:<\/p>\n<p>Roger Ebert was very much alone when he gave <strong>Speed 2<\/strong> great  big thumbs up, and the overall consensus among critics and fans of the original  film was of the sequel being quite lame, and confirmation that as a director,  ex-cinematographer Jan de Bont\u00a0 was only as good as his script.<\/p>\n<p><strong>Speed 2<\/strong> was and remains a lousy film, and that reputation  has maligned one of Mark Mancina\u2019s better action scores of the period. La-La  Land\u2019s CD features material that wasn\u2019t used in the final film edit, and the  complete cues reveal a solid action score that seamlessly combines electronica  and orchestral elements.<\/p>\n<p>\u201cEngine Room\u201d is the score\u2019s first real dramatic cue (the first track is a  perfunctory <strong>Speed<\/strong> theme recap with the famous Fox Fanfare), and  contains key elements of Mancina\u2019s score: ominous pulsing bass, great dynamics  among the strings and brass, and processed bass booms and rumbles that  undoubtedly exploited the film\u2019s 5.1 mix. A ticking motif keeps the cue\u2019s tenor  somber and ominous, but Mancina introduces his eerie villain theme \u2013 very  simple, clean, but grounded in a menacing series of tones redolent of a classic  Bondian villain. \u201cOverboard\u201d is even more brooding, with a heavier emphasis on  low tones and grungy harmonies, and a brief heroic peak that precedes a boost in  orchestral momentum, with Mancina bringing in thick percussion.<\/p>\n<p>The original theme from <strong><a href=\"http:\/\/www.kqek.com\/cd_lp_reviews\/s\/CD_0358_Speed.htm\">Speed<\/a><\/strong> [<a href=\"http:\/\/kqek.com\/mobile\/?p=4942\">M<\/a>] (1994) is given a chunkier,  percussive edge in <strong>Speed 2<\/strong>, and Mancina plays it against his  villain theme in the score\u2019s first steady action cue, \u201cTanker Turn.\u201d Mancina\u2019s  approach to action consists of heavy theme quotations rather than deconstructing  things or delving into the abstract or impressionistic, making his scoring style  rather old-fashioned.<\/p>\n<p>That approach tends to make his action cues highly reflective of whatever  onscreen action is taking place, so while it\u2019s easy to imagine when the hero is  swinging into action or struggling in a lethal battle with a thug, it also makes  some cues monotonous \u2013 a problem that becomes more pronounced in the album\u2019s  last major action cuts, \u201cThe Harbor\u201d and \u201cFinal Chase.\u201d The motifs are  oft-repeated, and there isn\u2019t enough variety among instrumentation, which may  illustrate the limits of the composer, or director de Bont, who wanted a simple  pulsing motif tracked over the action scenes due to an overabundance of sound  effects.<\/p>\n<p>The score does recover with the final action cue \u201cUnderwater Rescue,\u201d but its  brevity is too severe, and the album\u2019s final cue recaps the Calypso Muzak heard  in \u201cAlex and Annie \/ Carribean Cruise,\u201d albeit with full orchestra and a brief  sax solo.<\/p>\n<p><strong>Speed 2<\/strong> is one of Mancina\u2019s better nineties action scores,  but its weaknesses are perhaps too reflective of the film\u2019s inherent dramatic  limitations, and de Bont\u2019s emphasis on smash-boom montages that extended the  film\u2019s running time into a bloated, vapid experience.<\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p>\u00a9 2012 Mark R. Hasan<\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p>External References:<\/p>\n<p><a href=\"http:\/\/www.imdb.com\/name\/nm0006183\/\">IMDB <\/a>&#8212; <a href=\"http:\/\/soundtrackcollector.com\/catalog\/soundtrackdetail.php?movieid=9175\">Soundtrack Album<\/a> &#8212; <a href=\"http:\/\/soundtrackcollector.com\/catalog\/composerdetail.php?composerid=1150\">Composer Filmography<\/a><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><em><strong>Return to<\/strong>:\u00a0<a href=\"http:\/\/kqek.com\/mobile\">Home <\/a>\/\u00a0<a href=\"http:\/\/kqek.com\/mobile\/?page_id=9\">Soundtrack Reviews<\/a> <\/em>\/\u00a0<a href=\"http:\/\/kqek.com\/mobile\/?page_id=1511\">S<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ S . Rating: Very Good Label: LLLCD-1138\/ Released: June 15, 2010 Tracks &amp; Album Length: 14 tracks \/ (70:24) . Special Notes: 20-page colour booklet with liner notes by Daniel Schweiger \/ Limited to 3000 copies. . Composer: Mark Mancina . . Review: Roger Ebert was very much alone when [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[20,1],"tags":[454,1328,1329,4212],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1hE","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/4938"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4938"}],"version-history":[{"count":6,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/4938\/revisions"}],"predecessor-version":[{"id":4950,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/4938\/revisions\/4950"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4938"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4938"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4938"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}