The music has evolved from the Las Vegas lounge jazz of 'Ocean's 11' into a more cosmopolitan European feel, which builds on some of the funkysoul of the peerless 'Come Get It I Got It' and 'The Free Association' while also including some loping beats and a healthy dollop of fuzzy psych (including a track, Faust 72, from last year's psychfunk belter 'Cherrystones - Hidden Charms'). As ever, the found sounds blend seamlessly into the overall feel of the piece and this is surely one of Holmer's greatest skills.
For me, David Holmes has now established himself as a soundtrack composer on a par with John Barry, Ennio Morricone and Angelo Badalamenti and when he's on this kind of form should be judged at that exceptional level. It's just a pity that there are very few filmmaker's around deserving of his input. Indeed who cares what the picture's like when the music's this good?
