Soundtrack Information

The Tuxedo

The Tuxedo

Varese Sarabande (302 066 414 2)

Release Date: 2002

Performed by
The Hollywood Studio Symphony

Format: CD

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Track Listing

1. Jimmy's Tux (John Debney) 2:50
2. Skateboard Chase (John Debney) 2:00
3. Mad Bike Messenger (John Debney) 1:04
4. Jimmy's Dream (John Debney) 0:48
5. "The Tuxedo" Main Title (Christophe Beck) 3:01
6. First Mission (Christophe Beck) 2:54
7. Swallow the Queen (Christophe Beck) 2:25
8. Demolition (Christophe Beck) 1:20
9. Putting On Tux (John Debney) 1:59
10. Demolition Program (John Debney) 1:02
11. Rope Fight (John Debney) 2:58
12. Rope Fight (Christophe Beck) 2:14
13. Superhuman (Christophe Beck) 1:39
14. Walter Strider (Christophe Beck) 1:21
15. High Noon (Christophe Beck) 0:49
16. Banning Opens the Pods (John Debney) 2:29
17. Banning Swallows Queen (John Debney) 0:49
18. Jimmy Saves Blaine (John Debney) 1:50
19. "Get Up (I Feel Like Being A Sex Machine)" - James Brown 3:19
  Total Album Time: 36:51

Review

by Dan Goldwasser
on November 12th, 2002
[2.5 / 5]

In The Tuxedo, Jimmy Tong (Jackie Chan) is a cab driver who gets recruited to become super-spy Clark Devlin's (Jason Isaacs) personal driver.  After an accident that incapacitates Devlin, Tong assumes his identity, and by wearing his super-tuxedo, takes on all the skills and abilities of a secret agent.  Teamed up with Delilah Blaine (Jennifer Love Hewitt), they try to uncover an evil plot to destroy the planet's fresh-water supply.  Scored by Christophe Beck, the film required John Debney to come in and add his own brand of spy-tech to the music track.  The resulting soundtrack sounds a tad bi-polar, but has a few entertaining moments that might be worth a listen.

Debney does more of the same stuff he's done in Spy Kids and Jimmy Neutron - hard hitting rhythms with plenty of brass and orchestral mayhem.  "Mad Bike Messenger" is a representative track of the kind of fun score Debney gives us.  On the flip side, we have Christophe Beck's work, which isn't as hard-hitting, but has more of a dramatic, almost "wondrous" edge.  "First Mission" is sneaky and foreboding, but his action cues ("Demolition", "Superhuman") have a slightly more techno-edge to them than Debney's action cues.  It's interesting to compare the two parallel scores; we're even given two versions of "Rope Fight". 

Capped off with a James Brown song from the film, the album runs a rather tight 36-minutes in length.  It's a solid listen, but after a while, the electronic beats get to be a bit much.  Debney and Beck fans will find this one a "must have", but others might want to pass.


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