With Starship Troopers 2: Hero of the Federation, a one-star movie receives a FIVE-STAR soundtrack. The film doesn't bear much scrutiny as director Phil Tippett abandons the early suspenseful stuff in favour of reworking John Carpenter’s The Thing. For this seemingly unworthy assignment, composers John Morgan and William Stromberg raise the baton in fine style. Like Nic Raine, they have made new recordings of classic film scores, including The Adventures of Robin Hood and King Kong.

It’s incredible how much effort these two musicians pour into Starship Troopers 2. The darker elements sound like pure horror with thrashing cadences, unsettling timbres and a general sense of distorted equilibrium. By the same token, there’s restraint and an air of nervous expectation. After all, we can’t have horror without the suspense. An eclectic highlight, “Fed Net” sets the tone for this score. Strangely, this opening symphonic piece should play as one ten-minute movement. Yet, the CD assembly divides it over several tracks.

During “Battle at Z.A.,” urgent brass ignites the charge, while conveying a palpable sense of discomfort. Marching forward, Morgan and Stromberg add creepy violins at 2:24. They strike a worthy crescendo before heading into “Retreat to Devil’s Anvil.” Goose bump moments like these simply eluded Basil Poledouris on the original Starship Troopers. In particular, “Klendathu Drop” tended to copy a key melodic groove from Poledouris’ own Robocop.

As “Storm” unfolds, the horns emphasize fury and madness. For the final part of this epic theme, “The Fortress” features long notes. The strings underscore most of this climax only to relinquish authority as raging brass conquers the melodic line.

“Fortress Search” reflects weary combatants stuck in a wistful key. Meanwhile, “Attack!” launches the listener back into the drama. It’s wonderful how Morgan and Stromberg generate such fireworks in a rising/falling/rising curve. Even when fully embracing atonality, they strive for clarity.

“Dax Released/Perimeter Burn” offers a clever twist on the “Fed Net” melody, utilizing metallic strikes to convey danger. Unlike the Remote Control sound perpetuated by Hans Zimmer, the cacophonous material in Starship Troopers 2 rarely states the obvious. Adding to which, rests and subtle gestures allow the bigger moments to land more forcefully. This works better than an endless string of crescendos.

Moving along, “DMZ” wallows in cautious optimism, boasting slightly high violin screeches before descending into a minor key. The use of counterpoint resembles a tide as the orchestra rushes in and out. In context, such orchestration makes us feel the presence of those bothersome bugs even more.

“Reunion” provides a relaxing alternative to the chaos. A bright trumpet line owes a little to “Arlington” from Bernard Herrmann’s The Day the Earth Stood Still. Likewise, “Sniff Factor” conveys serenity and peace. A dash of pride can be felt too. At 0:56, we hear “Fed Net” again, and this firm militaristic front creates a sense of “it’s time to gear up because the bugs are coming!”

In between “Psychic Shakedown” and “Sahara and Dax/Taps,” we hear some suspenseful passages via harp, violin and trumpet. The first half of “Door Jam” heightens this agitato rhythm before settling into a calmer atmosphere.

If Starship Troopers 2 features any kind of love theme, then “Reappearing Cream – Flirtation” oozes seductive menace. Simply imagine snakes making love and you get a sense of quietly simmering evil.

Suspense echoes throughout “Soda’s Tongue” only to embrace a dissonant style at 1:20. On a harsher note, “Finger Food” features uneasy strings and broiling percussion. Things are about to get messy! With similar ideas, “Vision Dream” establishes a dizzying flow, building into a nightmarish frenzy.

Quietly gestating, “Spying on the General” supports the idea that the situation is about to implode. Sure enough, “Tail O’ of Bug” shows no mercy as hissing strings, rumbling horns and a brief “da doom” traverse dangerous waters.

“Transition” provides some solitude, yet an anxious quality persists here. It’s immediately followed by “Meeting with Dill,” where the violins induce a moment of reflection. Ultimately, shifts in tone or mood demand careful editing. As such, Morgan and Stromberg demonstrate a keen awareness regarding the relationship between horror and heroism. These composers unconsciously slide between various feelings, contributing variety and richness at every turn.

The first minute of “Lieutenant Dill’s Death” waltzes along quite happily before dread ensues. At 1:06, things turn bleak with a wall of perilous drums, violins and assorted strings.

For “Dax Arrested,” there are some low-register strings, creeping along at an eerie trot, reminiscent of suspenseful passages from Bernard Herrmann’s Citizen Kane.

Likewise, “The Rape of Rake” applies some imaginative piano chords before strings and light drums take over. An exciting build-up eventually winds down sans explosive charge. We’re not out of harm’s way yet as “Vengeance” gallops into view. The latter features strong aleatoric sound distortions to convey mystery. Ordinarily, keyboard samples and drum loops would be the order of the day. Yet Morgan and Stromberg keep the 90-piece orchestra strumming along.

As we reach the score’s zenith, “The General Explains” and “Kill Them All!” reprises the infamous string cluster or spider motif featured in Raiders of the Lost Ark and The Thing. Of special note, “Kill Them All!” contains some of the most startling action material. Sadly, such sophistication went amiss in Klaus Badelt’s Starship Troopers 3: Marauder; the latter consisting mainly of synthetic colours, augmented by occasional electric guitar highlights.

Without pause or reflection, “End Credits” adds some military muscle. Such unashamedly patriotic scoring seems justified by the amount of hot-blooded tension we have heard so far. Not surprisingly, the Moscow Symphony Orchestra pours tremendous feeling into this track, seguing via a cheeky thunder cloud into a reprise of “Battle at Z.A.” Lastly, the theme from “Reunion” takes a bow.

To briefly summarize the joys of Starship Troopers 2, it’s admirable how Morgan and Stromberg combine horror, action, fantasy and science-fiction. Their digital score contains many Golden Age touches. Above all, they rely upon theme, texture and transparency.