Zanobard Reviews

Rob Simonsen’s Deadpool & Wolverine score is decidedly all right, with an aptly chaotically heroic main theme for Deadpool in opening track “LFG” being the highlight alongside a smattering of Marvel thematic cameos, but otherwise… there’s just not a whole lot to remark about here.

The score for Deadpool & Wolverine begins with “LFG (Theme From ‘Deadpool & Wolverine’)”, and all-in it’s a rather fitting piece for the film; ominous percussion opens the track which then builds emphatically until loudly in-your-face dubstep-esque beats suddenly burst in, and some dramatically distorted electronics then start to play the film’s brand new main theme. It’s a somewhat memorable motif overall, and plays in increasingly loud, bold and heroic form in its debut cue here with orchestral elements also joining the fray and slowly building alongside in the thunderous back half. The distorted electronics aspect is an interesting choice, it reminds me of Hildur Guðnadóttir’s theme for Battlefield 2042 in style but Simonsen’s is more effective, capturing that chaotically heroic aspect of Wade Wilson’s titular character pretty well in tone. The subsequent “Deadpool Has A Theme” then builds on this new thematic identity in slower, more subdued and mostly traditionally orchestral form, opening quietly on gently noble brass and strings before then similarly building in both volume and intensity with the electronics from the prior track reprising in the background until a grandiose finishing crescendo is reached. All-in, it’s a solid introduction for the brand new theme, though I do perhaps wish there was a bit more to it. It’s a bit… unremarkable.

“Reaching Too High” opens quietly, with low-pitched brass reprising the main theme in now gently pensive form which then continues for much of the track’s two and a half minute runtime, until the full orchestra then enters the fray to end the cue on a more hopeful note. The orchestral solemnity then reprises in the first half of “Walk With Me”, before a thematic surprise then occurs at around the ninety second mark as none other than Alan Silvestri’s Avengers theme makes a grandly heroic appearance. Sinister-sounding orchestra then occupies much of “Two Choices”, before the score’s first action setpiece arrives in “They’re Coming”; tense dubstep-esque beats take centre stage alongside worrisome brass and strings for the first two minutes before loudly triumphant vocals suddenly burst onto centre stage, and the cue suddenly ends on an emphatic crescendo. The tense beats continue in “I Love This Part” to similarly atmospheric effect. The impeccably-named “Your Fingers Are Inside Me, But Not In A Good Way” then leans into solemnity with a quietly morose piano rendition of the main theme, before “Hideout” then reprises the tense action beats from earlier. “That’s Her” however will pique some ears, as – spoilers – Marco Beltrami’s theme for X-23 from 2017’s Logan reprises in that same melancholic, heartfelt piano style. It’s not a very long appearance at fifty seconds long, but a welcome one nonetheless.

Action however then kicks thunderously back into gear with “Name For Myself”, with the main theme tensely holding centre stage on brass opposite the dramatic dubstep-esque beats and electronics for the majority of the two minute track. “Death or Enslavement” then continues where it leaves off with the percussive beats now the stylistic focus. Melancholic piano notes and strings then tonally take over in “I Walked Away” before moodily ominous electronics switch up the tone yet again in “My Brother Loved You”; here quietly pensive ambience occupies much of the track’s runtime, with orchestral elements joining the fray after a short while. The main theme then thunderously reprises in “I Called Some Friends”, with that chaotically heroic brass and dubstep-esque beats combination playing loudly throughout its sixty second runtime. The theme then reprises in quieter form towards the end of the subsequent “Steadily Great Since Endgame” before crashing dramatically back into centre stage in “Enjoy My Peter” on deafening brass and drums. Moodily malevolent brass then opens “Let’s Up The Stakes” with similarly ominous strings and vocals carrying the tone for the remainder of the track. Now just taking a break for a moment, I feel I have to say – so far, as much as the main theme is kind of enjoyable, I’m not in love with this score. There’s just… not a lot going on. It’s not bad, it’s just really unremarkable, despite the odd thematic cameo or two. Bit of a shame really.

“He’s Not Gonna Make It” opens quietly before then starting to build hope with low-pitched brass, strings and rousing drums rising in intensity, with the main theme then blasting through for a thunderously heroic performance to end the track. “Ripper Carnage” and “There’s Nothing To Fix” then reprise the main theme in quietly thoughtful form, before “Special Sock” dials up the dramatic volume with the chaotically heroic electronics, brass, drums and even a thunderous electric guitar holding the main theme unapologetically high for several deafeningly epic minutes. To end the album, “Fallen Heroes” then closes the story on a surprisingly thoughtful and melancholic note, with quiet low-pitched brass and solemn piano notes opening the track. A crash of cymbals then ushers in a loudly salute-worthy orchestra towards the end of the piece, building to a heroic finish.

Overall, Rob Simonsen’s Deadpool & Wolverine score is… an interesting effort, for sure. The main theme as debuted in opening and standout cue “LFG (Theme from “Deadpool & Wolverine)” is a chaotically heroic and aptly thunderous motif that does fit the titular Wade Wilson rather well, but despite its many appearances across the album it never quite develops into a properly memorable theme. The foundation is there, but its various renditions are always too short and it never really gets that amazingly heroic playthrough that you feel it deserves. The musical style here is also a bit wacky, with an electronic kinda-sorta dubstep-esque beat thing going on alongside traditional orchestra and even a few sound effects, which again kind of fits Deadpool in terms of musical chaos I suppose, but that’s about all it has going for it. There’s a couple of thematic cameos too in short appearances from Alan Silvestri’s Avengers theme and Marco Beltrami’s X-23 motif from Logan, but honestly – that’s about it really. It’s difficult to have much of a concluding remark about this score because to be honest I just find it… unremarkable. There’s moments of intrigue (like the finishing “Fallen Heroes”) but all-in, it’s… fine. It serves the film well I’m sure. But the main theme is kinda not as interesting as you’d want it to be, the action is a tad generic and the quieter moments are just kind of all right so overall – it’s difficult to have much to say about it.

A fine superheroic soundtrack effort, but that’s about it really.

Score: 6/10

Standout Cues: LFG (Theme from “Deadpool & Wolverine”), Deadpool Has A Theme

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