The ensemble for Two Weeks Notice consists of piano, acoustic guitar, bass, Hammond organ, and percussion, occasionally using very basic, synthetic depth from keyboards. The tempo of the score shifts from soft rock to grooving swing and retro, jazz band standards as it attempts to address the humor level of the scenes in the middle of the film's narrative. At their height, as in "In the Limo," the organ and wildly tapped percussion remind of David Holmes' music for Ocean's Eleven or Analyze This, a 1970's-based sound that was experiencing a comeback in film scores of the early 2000's. The humor of the seemingly improvised piano performances in cues like "Bobcat Pretzel" has the restrained, but still snazzy and rolling tone of the kind of piano music you'd expect to hear in upscale department stores. The attitude becomes more abrasive in "Protest," in which Powell uses the acoustic guitars to forcefully strum a thumping rhythm of determination. Percussion and organ go wild in "Emergency," taking the tone of "Bobcat Pretzel" and stirring some genuine life into it. Clapping effects inject levity into similar organ and piano ramblings in "Sad Bowels." For most enthusiasts of the film, the highlights of the score will likely come in the form of the somewhat melancholy performances of the title theme and its various components throughout the scenes of amour on screen. The theme is given a heart immediately by solo piano in "Love Theme" and it very lightly graces "Take Away," "Helicopter Ride," and "Finale" with both piano and guitar identities. Its very slow tempo makes the theme difficult to recall just a track or two after each performance, however, despite its conservatively functional stance. At times, there were moments when the film could have used a swell of orchestral depth, most notably in "George's Speech," a cue that in its final form here seems badly underplayed. Like the movie, the score doesn't build any sense of inevitability in its music, plodding along in its concluding cues with almost as much detached passion as was heard at the start. The lack of any formation or resolution of character in the otherwise effective score is symptomatic of a film that didn't have the greatest of chemistry or climactic pay-off to begin with. The soundtrack for Two Weeks Notice has always remained a decent seller (because of the songs from the film not heard on this album, leading to many angry consumers), but unlike the gems that sometimes reside behind these pop situations (as in Craig Armstrong's score for Love Actually), Powell's music for this film makes no lasting impression on you. If you want a real kick, view all the angry one-star reviews this product got at Amazon.com because of the hoards of morons that can't distinguish between song and score albums.  ***   @Amazon.com: CD or Download