He'd also like to consider himself a film critic, but only for the movies he doesn't walk out on. Ryan's in love with serialized dramas, sci-fi shows, and video games, specifically RPGs and FPS's. So, he stays away from such areas and sticks to what he likes. He's not really into comic books or anime (save for a few exceptions) and, when it comes to that vampire craze, he'd have a hard time discerning even Jacob from Edward. That is, if it was any good, of course.īut contrary to what his website may say, Ryan's geekdom is not overly eclectic, and he keeps to his fandoms. But he exists and types away, ranting about bad story-telling in video games or raving about last night's episode of 24. Bermuda, a 21-square mile land mass 700 miles off the coast of New York, is an unlikely place to find such a geeky writer. Overall Rating (not an average): 2.5 / 5 StarsĪbout the AuthorRyan Whiting lives on an island you've probably never been to and probably care little about.
#UNSTOPPABLE MOVIE MUSIC SOUNDTRACK FULL#
A bass line here, a heavy hit there, and a middling orchestral serenade peppered sparingly, Unstoppable’s soundtrack is full of noise, but altogether lacking in substance. In the end, the talent of Gregson-Williams fell victim to the norms of the genre (and, also likely, the vision of the film’s producers), where such unoriginal and bland sounds are all-too-frequent. Unstoppable’s 13-piece soundtrack is by no means bad. Sometimes (like in “Who Do I Kiss First?”), Williams lets these softer instruments lull solo, allowing for a pleasant - albeit late - switch from the majority of the soundtrack’s almost too heavy sound. While fueled mostly by strong, techno-rock undertones, Gregson-Williams does allow time for more classical instruments to creep in every so often soft, piano keys may dance by, and the sound of strings can often be heard juxtaposing - or complementing - a bass line or guitar riff. But Unstoppable has no such reprises - only dull, monotonous and frankly repetitive sounds.
Sure - reprises are fine, and do well to harken back to earlier themes, motifs, and significant plot events.
While recurring motives are, of course, common practice in the realm of soundtracks, it’s also nice to hear variety, too each track should, by its own artistic merits, stand on its own, allowing for the scenes they depict to take on unique characteristics of the accompanying music. Unstoppable’s main fault lies in its incessant similarity each track flows to the next, with little to differentiate the two. Ultimately disappointing, Unstoppable’s soundtrack is a mediocre collection of music that simply fails to inspire.
Foregoing an orchestral direction in favor of one that is, almost-exclusively, ultra-electronic, Gregson-William’s score is certainly adequate for the subject matter, but, beyond that, achieves little else. Known predominantly for meshing elements of electronica with more classical, orchestral sounds, one would more than likely expect a similar style to resonate throughout the soundtrack to 2010’s Unstoppable. Having composed for several, much-loved modern films, including 1998’s Antz, 2001’s Shrek and each of the three films in the Chronicles of Narnia franchise, Gregson-Williams is no stranger to cinema soundtracks - or soundtracks in general, for that matter he’s also the man responsible for much of the phenomenal music in the Metal Gear Solid series. More than likely, you’ve heard Harry Gregson-Williams’s music before.
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