The novelty value here is that the soundtrack consists of one
long title track, all percussive frills, echoing synths and atmospheric noise.
For fans of would-be cutting edge, ultra modern film scoring (although ironically
with just a few minor alterations it could easily originate from the 80s) this
could be your thing. Personally, despite one or two agreeable sections, it all
smacks of self-indulgence and lack of creativity, which is a pity because David
Arnold is capable of a good deal more than this.
Mark Hockley