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In the film it works pretty well, but only because the sound of the gunshots tend to drown out any additional music that they tossed in there. I didn't think that this was a very listenable track—it's got some good percussion, but a lot of intentional noise distortion and effects, which I don't find that all exciting. "Bio-Techno" is the raucous "music" heard during the fight sequence in the laboratory. A dark theme (which shows up time and again), and a Russian male choir (ala The Peacemaker) help sell the idea that Ambrose (Dougray Scott) is the bad guy.

"Ambrose" brings in a bit of the Zimmer stylings that we would come to expect. "The Heist" isn't anything great, just some smooth jamming. I was hoping for an opening title sequence that put the first film's opening titles to shame, and instead we get a rock-climbing session (more on that later) followed by this brief "montage" at the end of the credits. One of the more disappointing cues on the album, "Mission: Impossible Theme" is a mere 40 seconds long, and sounds like a high-school battle of the bands grunge session thrown together—except that they can keep the beat. But quickly it pops back into the "Seville" theme, and it's all good again. The cue for "Nyah" presented on the album is the film version—Heitor Pereira does exceptional work on the guitar, and the theme is happy, but reminds me a bit too much of the happy moments of The Rock. Towards the end of the cue, Gerrard's vocal styling shows up, and it starts to sound like Gladiator. I suppose these are the traits that explain why his scores to As Good As It Gets and Rain Man get the nominations, and others like Backdraft don't. With a great Spanish guitar theme (which also will pop up multiple times in the score), these are the moments that I love about Zimmer—a great simple theme with a light airy freshness about it. "Seville" contains the other end of the thematic spectrum—a flamenco dance. The themes heard in this cue pop up again throughout the score. But then it goes in a completely different direction—while it is more of a jamming session than anything else, there is a definitely thematic line to the music.

"Hijack" begins with a bass and percussion riff slightly reminiscent of how the first M:I film opened. While I have no problem with Gerrard's work, I just felt that in the film it stuck out a bit too much as Gladiator-like, since that film was still pretty fresh in many moviegoer's minds. I guess Zimmer had a great time working with her on Gladiator that he asked her to stay on for M:I-2. One name that stuck out was Lisa Gerrard. In any case, the quality of work seemed to drop from those two previous films, to M:I-2.įirst off, he assembled the "Band" together—a group of eleven players that performed the bulk of the score. But without talking to him, we might never know. So what happened with M:I-2? Did Zimmer bite off more than he could chew? Possibly. With over two hours of music, the score was no doubt something that took a while to do. He also worked on Gladiator for Ridley Scott, with Lisa Gerrard. But he did a lot of work on the songs and score, and that takes time and energy.

He worked on The Road to El Dorado for DreamWorks, and it tanked. I knew that Zimmer had worked with Woo before ( Broken Arrow) and I was sure that if they could do for M:I-2 what they had done on Broken Arrow, it would definitely be a fun score.īut as it happened, Zimmer had a very busy year. Even Alan Silvestri did a great job with his rendition of the M:I theme, heard in the trailers for the first film. Sure, I thought Danny Elfman did a great job with the first film, but this was a different film, and a different composer's style could lend a fresh take on the classic Lalo Shifrin theme. When I heard that Zimmer was going to be scoring the film, I was nothing short of enthused. One of those elements was the score, by veteran composer Hans Zimmer. More "James Bond" than "Mission: Impossible," the film left a few things to be desired. I was disappointed because I thought the screenplay was just as bad as the first film (both were written by Robert Towne), and as a fan of the television show, I had to wonder why the idea of the team and covert operations went out the window in favor of a one-man (Tom Cruise) army blowing things up left and right in plain sight. Not because of the action sequences, or even the acting (though it wasn't anything great). While the trailers looked great—and I'm a huge John Woo fan—I have to say that I was pretty disappointed by Mission Impossible 2. How does one spell disappointment? M:I-2.