After Arnold Schwarzenegger struck gold with Total Recall and
Terminator 2: Judgement Day, there was a horrible time when it looked
as if the muscle-bound action men were taking over from real actors. Sylvester
Stallone made a box-office comeback with Cliffhanger and Demolition
Man, Steven Segal had a bona fide box-office smash with Under
Siege, and Jean-Claude Van Damme did better than he ever should in Hard
Target, Timecop and Universal Soldier. This latter title,
a cheap Terminator 2 imitation made by Dean Devlin and Roland Emmerich
as a step on the way to Stargate and Independence Day, proved
to be Van Damme's greatest hit. So much so that there are now two simultaneously
released sequels. Universal Soldier II is a straight-to-video TV series
pilot, while Universal Soldier The Return is Van Damme's 'official'
follow-up. Bargain-basement video fare, it has somehow escaped into cinemas.
Given that the acclaimed science fiction action movie The Matrix
catapulted Don Davis into the major league, it is surprising to find this
is his follow-up project, so presumably the contracts were signed long before
the former film was made. The packaging is typically minimal for a Varese
Sarabande release, but at least the playing time exceeds Varese's all too
common 30 minutes. The cover declares that the music is composed and performed
by Don Davis, so with the exception of Jason Miller's guitars it appears
this is an entirely synthesised recording. Frighteningly, such is the quality
of modern samples, it is very difficult to tell: the album sounds like a
combination of orchestra and electronics in typically modern military action
style.
This isn't the place to come looking for tunes. Virtually the entire score
consists of hard-edged suspense and combat 'Mickey-mouse' music. Davis offers
lots of snare tattoos, brooding atmospheric textures, hammering, anvil-like
percussion, atonal piano and fast sequenced riffs. Three tracks sound like
heavy metal instrumentals, complete with squealing electric guitar. Doubtless
this is appropriate, given that the film is cinema what heavy metal is to
music. The best than can be said is that it is relentlessly efficient, thoroughly
professional, and doubtless serves Universal Soldier The Return as
well as anything might. Unfortunately, it is also utterly generic, sounding
much like the accompaniment to many second-rate modern action movies. Coming
full circle, it is the sort of thing Jerry Goldsmith started with his excellent
score for Total Recall, but that was almost a decade ago and was an
original from the pen of a master. This is not, and as an independent
listening-experience, it just might enhance a game of 'Action Man'.
Reviewer
Gary S. Dalkin
Performed by
the composer
