Without the instrumentation native to the region, the music for
The Rundown could be labeled a simple rehash of a tired equation of modern
action cliches. Some might argue that it still is, but that depends on your
interest in exotic instruments set over familiar rhythmic devices. This is no
Under Fire, and people who are quick to point that out will also note that
The Rundown exists without a primary theme. Its atmosphere and sound design
is consistent from beginning to end, and the score does develop more of a heart as
it progresses, but it relies heavily on its colorful tones to retain your interest.
And that instrumentation is generally good, with ethnic flutes and percussion that
is effective in many of their applications. One notable exception is "Kontiki,"
which features catchy drums, whistle-blowing, and tinkling, banging percussion that
builds to a crescendo and erupts like the percussion section of a college marching
band gone wild. The frustrating aspect of
The Rundown is a reoccurring
complaint with Media Ventures scores, and it involves developmental consistency. In
short, the score never creates a strong central identity, instead presenting three
or four fantastic, short motifs that are never heard a second time. In "No Breaks,"
for instance, the composer introduces a low, intoxicating male vocal that never
returns. In "The Deal," he presents a truly exotic woodwind instrument-effect
(which could be real or synthesized) but then abandons it. The "Marianna Escapes"
cue offers a short glimpse of romantic sensibility in a passionate motif performed
with personality by acoustic guitar. But like such equally uninspiring scores as
Chill Factor, each briefly established motif dies before it can be further
explored. As the score for
The Rundown progresses, it loses some of its
authentic percussion and becomes more of a budget conscious, seemingly synthesized
effort. By "The Gato," Gregson-Williams finally exhibits the regular Media Ventures
style of electronic-sounding strings over real orchestral elements, and by the
"Guns" cue near the end of the presentation, we're in familiar electric
guitar-blazing territory. The composer does conjure a bit of an inside joke
(perhaps… maybe it was a mental accident) in "Little Swim;" at 1:10 into that cue,
he makes a quiet, though distinct statement of one of his
Sinbad themes.
Overall, the album is easy to appreciate in parts, and despite an unceremonious end
and a lack of thematic identity, the score is likely sufficient in its purpose. But
several good ideas are introduced and abandoned over the course of the score, and
their lack of development can make the music for
The Rundown a frustrating
experience.
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