The powers-that-be behind The Amazing Spider-Man had a problem. While their remake/reboot had done well overseas, its paltry $200 million gross in the US was by far the lowest of any film featuring the web-slinger to date. With a sequel already greenlit, the producers and director Marc Webb needed to lure back fans who had felt, correctly, that their previous film had been unnecessary even in reboot-happy Hollywood. To that end, they stuffed The Amazing Spider-Man 2 to the gills: three villains, multiple subplots, hooks upon hooks upon hooks to tie into projected Sinister Six and Venom films, and an adaptation of a legendarily dark story twist from the comics–all in a package only six minutes longer than The Amazing Spider-Man. If that film had felt like a remake of Sam Raimi’s Spider-Man, its sequel was a remake of the (relatively) disastrous Spider-Man 3. Once again, international audiences flocked to see their friendly neighborhood Spider-Man, but the domestic grosses were extremely disappointing (less then the contemporary Captain America 2) and critical reviews were savage.
Danny Elfman, Christopher Young, and James Horner had provided generally outstanding music for the previous Spider-Man films, combining a firm orchestral presence with strong themes and hefty helpings of electronics where appropriate. For The Amazing Spider-Man 2, though, the producers turned directly to the current superhero kings of Hollywood: Hans Zimmer and his Remote Control studio. Since Batman Begins in 2005, Zimmer had been attached to most of the successful superhero adaptations cranked out by Hollywood, from 2008’s The Dark Knight to 2012’s Man of Steel. His philosophy of acting as a producer for a vast and disparate group of collaborators and his mastery of the media had made his textural scores, largely driven by simple ostinatos and motifs rather than traditional themes, discussed and debated to an extent unrivaled by any other composer in the 2010s.
In addition to being a music production studio, Zimmer’s Remote Control studio is also a PR outfit, and in the months before The Amazing Spider-Man 2‘s release, it was in full swing. With essentially a blank check from the filmmakers to produce something hip and popular, Zimmer reached out to the upper ranks of the pop music world for collaborators, and headline after headline followed their announcement: seven-time Grammy-winning R&B artist Pharrell Williams, straight from providing songs for the Despicable Me series; Incubus guitarist and frontman Mike Einziger; English recording artist and The Smiths mastermind Johnny Marr; Dutch electronica whiz Tom Holkenborg AKA Junkie XL; and, from Zimmer’s own stable of co-composers at Remote Control, Andrew Kawczynski and Steve Mazzaro. Dubbed “The Magnificent Six” on album covers and movie posters, those collaborators joined a further five Remote Control co-composers and five Remote Control orchestrators. Even for the collaboration-minded Zimmer, it was an unprecedented number of cooks in the kitchen, with every dollar of The Amazing Spider-Man 2‘s massive music budget on glittering display.
The part of the score that seems to have elicited the most reaction, positive or negative, is Zimmer’s use of dubstep and vocals for the film’s “main” villain Electro. As heard in “I’m Electro” and expanded upon in “My Enemy,” the Electro material is, like the composer breakdown, a bizarre gumbo of influences that mixes electronics that are far harsher and more contemporary than anything attempted by Elfman or Horner with vocals spelling out the character’s emotions (“He lied to me/He shot at me/He hates on me”) combined with Zimmer’s usual string runs. It’s a bit ironic that at a time when old-fashioned scores are being derided for being manipulative and telling the audience what they should feel, that Zimmer’s Electro theme tells the audience exactly what they should feel in so many words. Your response to the theme will depend on your tolerance for the unhinged and harsh, if creative, soundscape. Putting dubstep and vocals into a film score is an unusual nod to current musical trends, but it seems a little bit like putting disco into film scores in the 1970s: it seems hip and contemporary now, but will only serve to horribly date the movie once the dubstep craze of the 2010s fades. The Electro material is better as a villain theme than James Horner’s non-theme for the Lizard, but it pales in comparison to Danny Elfman’s solid Green Goblin and Doc Ock themes, as well as Christopher Young’s mournful Sandman music from Spider-Man 3.
Spider-Man himself does get a theme, his fourth in twelve years, first heard in “I’m Spider-Man.” Commentators have compared it to Aaron Copland’s “Fanfare for the Common Man,” though Zimmer’s music is far obviously more grounded in electronics, which are far more present than even Elfman’s most contemporary music, to the extent that the theme sounds like a nightly-news fanfare, an Olympic torch relay, or Vangelis (often to the point of sounding almost laughably cheesy). There’s also a love theme of sorts as in “Ground Rules,” “You Need Me,” or “I’m Moving to England,” and it’s there that Zimmer’s approach is closest to that of Elfman and Horner, with soft piano colors over ambient electronics and soothing orchestral washes, though the electric guitar is often given by far the most prominent role and the electronics, whether as atmospheric synths or intrusive pulses, are ever-present. The mix is such that even in the cues with a heavy orchestral presence, it’s all but overwhelmed by electronics, guitars, or both.
The less said about the material for the Goblin character the better – it’s essentially warmed-over leftovers from Man of Steel and a half-dozen other Zimmer scores, relying on the usual heavy ostinatos rather than the snarling menace of Danny Elfman’s original theme (or Christopher Young’s variations thereof). The most interesting thing about Zimmer’s themes, though, is that they are not utilized nearly to the extent or with the deep integration of Elfman, Horner, or Young. Whatever your feeling on the overall quality of his Electro, Goblin, Spider-Man, and love themes, Zimmer and his collaborators do not weave them into the musical DNA of the film, and there are none of the titanic hero theme vs. villain theme struggles which characterized Elfman and Young’s work. The balance of the work is electronic and guitar music that is strongly in the Zimmer mold, sometimes highly enjoyable, sometimes not, but with only the veteran overproducer’s sound to tie it all together. And there are many times when he fails to do even that, leaving the music to degenerate into a series of sometimes attractive but often disjointed pieces, each vying with the others to sound the most important.
Ultimately, Hans Zimmer and his sixteen credited collaborators did what they were asked to do: infuse popular names in contemporary pop music into the current dominant superhero soundscape, and market them aggressively as a musical experience alongside the film. As is so often the case, listeners’ feelings about the Zimmer sound will strongly influence their reactions (much as those same fans may have reacted to all the Hornerisms in The Amazing Spider-Man). But even taking that into consideration, Zimmer’s employment of his themes leaves much to be desired independent of the themes’ quality, and the effort often feels disjointed and piecemeal despite the composer’s attempts at using his overbearing style as musical glue. Whatever their flaws, Elfman and Horner produced cohesive scores, and even Christopher Young’s patchwork combination of his own themes and Elfman’s felt more organic. The music produced by Zimmer & co. is serviceable, perhaps even crowdpleasing, but ultimately feels more like a concept album than a fully fleshed-out score. At the time of the film’s release, it was available both as a standard CD and a “deluxe” product with a second disc and flimsier packaging that doesn’t play nice with CD racks. With The Amazing Spider-Man 2‘s middling box office returns the direction for the already-scheduled third and forth movies in the series is murky, but it’s a good bet that, given the amount of media attention he was able to command as part of his scoring process, that Hans Zimmer and his collaborators will unfortunately be the musical voice of the series for some time to come.