"He was dead...but he got better."

Hitman Chev Chelios survived a Chinese cocktail and falling from a helicopter, only to get scraped off of the pavement and have his heart stolen and replaced by one that requires electricity to keep it pumping. (Does this guy have the worst freaking luck or what?) Such is the plot of Crank: High Voltage, one of the most batshit crazy sequels this side of Gremlins 2.

Among this film's highlights: Chev and girlfriend Eve screwing on a horse track, Corey Haim looking like he scalped Dog the Bounty Hunter, Bai Ling as a walking Asian stereotype, a Godzilla-style fight that makes Chev look like a puppet from that old show "Spitting Image" (Google it), the late David Carradine as a horny, 100-year-old mobster, Lauren Holly as a vomiting psychiatrist and Chev taking on Spanish thugs while on fire.

If anything in the previous paragraph intrigues - or, at the very least, doesn't offend - you, you might enjoy this film, or, like me, sit besumed at the insanity unfolding before you. Ably matching the nuttiness of the film is the score by Faith No More's Mike Patton.

The score is based on a deceptively simple main theme of ascending and descending three-note scales. "Chelios" presents the longest permutation of the theme; a maddeningly catchy melody over staccato electric guitar riffs.

The main theme, which quickly grows on you, also figures into "Tourettes Romance" (far-off sampled vocals), the spaghetti westernesque "El Huron" (accordion giving way to oompah music), "Hallucination" (shakahuchi), "Chevzilla" (feedback over synth tympani), "Pixelvision" (detuned piano over Jew's harp with a side of sampled video game sounds), "Verona" (far-off harmonica) and "Noticias" (70s-style flute over xylophone).

Even in tracks not utilizing the main theme, Patton proves to be a talent with atmosphere, as with the strumming guitar and percussion of "Organ Donor" and the Orientalisms of "Triad Limo" and "Massage Parlor". "Chocolate Theme" seems like it could've escaped from a 70s porno, with its funkier-than-thou guitar, vocals and bass.

It's a credit to Patton that the score maintains interest, even in moments that might chase away most film score fans, such as the feedback-heavy "Tourettes Breakdance", the thrashing "Chickenscratch" and "Shock and Shootout" and the rock-infused "Juice Me", "Supercharged" and "Car Park Throwdown".

Granted, the film doesn't have a traditional, into-the-sunset ending, but the last couple of tracks ("Friction" and "Epiphany") strike me as somber. The former features tolling bells and what sounds like rustling leaves, while the latter is downright funereal with its organ work and anguished female vocal.

The songs on this are more entertaining than I would've expected. "Sweet Cream" is distinguished by (sampled?) organ riffs, a wailing female voice and various voice synthesizers inquiring "What the hell are you talking about?". "Kickin'" starts with the main theme before settling into a thrashing rock tune.

Given how terrific this score turned out, it's kind of disappointing that Neveldine/Taylor didn't procure Patton's services for Gamer. The score wasn't terribly noticeable in the film, but, from what I'm read online, Gamer's score, on its own, basically sucks shit through a straw.

For those who loved the main theme or just want a remnant to prove that what they saw actually happened, Patton's score is well-worth the purchase.