on 3 March 2014
The inclusion of part of the famous 1987 score by Basil Poledouris turns out to be a red herring in terms of excitement and personality on this score. It only appears once on the whole album, which in a way I can understand - Bromfman may have wanted to have a real go at this by himself to make his mark on the movie. On reflection, it would be a much better album if there were a couple of variations of it later in the album.
It does have an intense feel throughout most of the score - which is what you'd expect - but nothing really grabs your imagination. There's no real strength behind most of it, it's just your average movie score music and you are likely to become more and more frustrated as you get closer to the end - I know I did. It supports the movie just fine but it doesn't LIFT the movie like a Brian Tyler or Hans Zimmer score. On that note, it makes for a rather boring and frustrating listening experience.
I do prefer scores with longer tracks, which is just a personal preference of mine. I believe that allows the listener more scope in picking out and savouring their favourite cues and makes listening to the score and enjoyable journey all on it's own, regardless of the movie it is written for. This album is mostly full of very short tracks, and while not as bad as 'The Wolverine' (Marco Beltrami), it is still another one of those scores that, in the end, you just don't need to buy.