Conducted by Blake Neely

Produced by Harald Kloser

Release Date: August 31, 2005

  Varèse Sarabande Records
 

     From director Paul W.S. Anderson, of Resident Evil fame…or infamy depending on your point of view, Alien vs. Predator is a film that, while a good summer popcorn flick, isn’t a project that combines the best of both franchises into one film. It’s fun, but needless, and is not likely to have any of its plotline or character developments integrated into the futures of either series. This isn’t to knock Anderson down in any way as I’m sure than both he and the cast and crew of the film had a lot of fun making it, but one’s enjoyment of the film will be dependent on how seriously you look at this movie as it fits into the timelines of the other films.

     One of the marks of both the Alien and Predator films have been their musical scores, epitomized by the likes of Jerry Goldsmith, James Horner, and Alan Silvestri. All three composers delivered classic scores for their respective films and set the bar to be followed. For Alien vs. Predator, newcomer on the scene Harald Kloser, fresh off of The Day After Tomorrow, leaves his mark. While his score utilizes a hefty orchestra, and even moments of chorale-goodness, his tendency to relate more of the Predator line of musical influence, and leaving us with nothing to contend with in the area of themes, make this probably the most disappointing entry for either series. Elliot Goldenthal gave us something to think about with his score to Alien³ and John Frizzel returned to the basics of Jerry Goldsmith’s first score for Alien Resurrection, with Silvestri providing more of the same for Predator 2. But Kloser merely succeeds in hinting at the previous scores, mostly Predator with a section that pays homage to Aliens near the beginning, and gives us nothing new to chew on.

     The style is heavily atmospheric, even during the moments when the full orchestra is being utilized. It mostly lists about between tension-building atmospheric moments and horrific full-brass portrayals of the savage fighting which occurs between the Predator and the Alien. There is no musical cue or sequence of any note, save for the slight influences that Kloser does occasionally allow to creep through. It is a shame that for all the potential that such a score could have we aren’t even treated with something more memorable for the main theme, or even for the climax, which tries to be just as powerful as Silvestri’s music for climax as the second Predator film, but yet again comes off as nothing special.