A review by JAMES SOUTHALL

If ever a film seemed unlikely to spawn a sequel then it was the risible embarrassment Anaconda, but anything goes these days in Hollywood it would seem and so here is one of the most cumbersomely-entitled motion pictures in history, Anacondas: The Hunt for the Blood Orchid.  Sometimes you can be almost certain a movie is terrible just because of its title and, while I would certainly remind readers (and myself) that a book shouldn't be judged by its cover, well, this is one of those times.  Virtually nobody from the original film is back (the cast is hardly made up of household names) and this includes composer Randy Edelman; instead, Australian newcomer Nerida Tyson-Chew picked up her baton.

While the combination of bad film and unknown composer is unlikely to generate mammoth record sales, in fact Tyson-Chew's music is rather impressive.  Macho and boisterous for the most part, it is admittedly somewhat generic, but when it steps into top gear it's really rather exciting.  There are several first-rate action cues, including the terrific "Predator in the Water" and deeply dark "Livingston's Death" (I assume that he didn't die of natural causes based on the music).  In between the pounding action there are moments of respite, such as in the lovely "Totem", and ethnic hints, often provided by exotic percussion, but also by the recognisable sound of the shakuhachi (performed here by "Grand Master Riley Lee").

The most impressive passage comes in the finale, which sees 25 minutes of music in just three tracks at the album's conclusion.  "The Cavern" is full of a sense of brooding foreboding, coupled with the occasional flash of action, and is a step up from the "suspense scoring 101" we hear a lot these days.  "Climbing to the Light" is probably cut from an even darker cloth, and about half way in the action music really bursts forth - it is pleasingly orchestral and particularly impressive.  Finally, the very long last track "Discovering the Orchids / Face Off" is best of all, presenting all of the score's best ideas in one big piece, with good action music, good suspense and ethnic beauty.  While there isn't anything especially new here, Tyson-Chew has somehow managed to make the music sound particularly fresh and exciting, and there is certainly a depth to it which is quite rare these days.  Recommended.

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Tracks

1. Jungle Floor (2:12)
2. Elixir Perrinia Immortalis (1:40)
3. Kong Attacks Gail (2:04)
4. Stealing the Fruit / Kong Terrified (3:06)
5. Almost a Kiss (1:20)
6. Predator in the Water (3:53)
7. Enter the Jungle (:56)
8. Foreboding Path (2:22)
9. Crossing the Bog (3:29)
10. Spider of Anaesthesia (2:58)
11. Livingston's Death (1:05)
12. All Hope is Gone (1:58)
13. Lopaks (1:36)
14. It's Mating Season (3:15)
15. Totem (1:34)
16. Jack's Devious Deal Uncovered (1:23)
17. Betrayal of Trust (2:28)
18. The Cavern (6:31)
19. Climbing to the Light (6:02)
20. Discovering the Orchids / Face Off (11:14)