Eineinhalb Jahre ist es her, dass Ex-Agent Bryan Mills seine Tochter Kim aus den Fängen albanischer Mädchenhändler gerettet hat. Doch sein ruchloser Feldzug hat ein Nachspiel. Der Vater eines der damaligen Entführer sinnt auf Vergeltung. Als Kim und ihre Mutter Bryan nach einem Job in Istanbul besuchen, schlägt Murad zu. Erneut muss Bryan seine ganz besonderen Fähigkeiten einsetzen, um seine Familie und auch sich selbst zu retten.
…Hans Zimmer's Oscar-nominated score is performed on the instrument du jour of the 1980s, the electronic keyboard. A dangerous move, considering the synthesizer's lack of cinematic sweep, and its high potential for cheesiness. But this is a great score. The lonely, atmospheric "End Title" track is evocative of the sort of wistful sadness that pervades the film. And "Las Vegas" is even better – it provides a major adrenaline rush, as driving drum machines mix with wildly emotive wordless vocals. It's a very original approach to scoring a cinematic moment.
A totally excellent bit of funk from Chico Hamilton – working with a great group that more than helps their leader live up to the album's title! The record's a real lost gem – and it's got Chico working in much funkier territory than before, grooving with complicated rhythms, and a heavy sound that features lots of work on organ and guitar. Lowell George (of Little Feat fame) is playing slide guitar in the group, giving the sound a great, muddy propellant – which only gets stronger with the help of Simon Nava and Sam Clayton on congas, plus heavy organ and piano by Stu Garner, Jerry Aiello and Bill Payne. Includes the killer Latin groover "Conquistadores 74", plus "Stu", "Feels Good", "Fancy", "Stacy", Gengis" and "I Can Hear The Grass Grow".