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Final Destination 5 by Brian Tyler (Review)

posted Aug 29, 2011, 9:41 PM by Kaya Savas

The Final Destination
films have been about one thing and that's showing pretty young actors and actresses getting brutally killed. It doesn't hide the fact that it's pure exploitation horror cinema. However, when 3D started making its way into every multiplex it seemed like a good idea to defibrillate the franchise for some more cash flow. The first three Final Destination flicks were composed by the great and late Shirley Walker. One of the few examples of an amazing and talented woman in a sea of male composers. Her scores brought a rawness to the pictures that is hard to replicate. Brian Tyler who is king of stock sounding scores gives it his best shot.

Horror scores can tend to get boring for me, especially modern ones. Nothing will ever top Ennio Morricone's The Thing and I'll argue that till the cows come home. Studio horror movies always suffer from boring and standard horror scores and Brian Tyler's second Final Destination score is no different. While I applaud Tyler for being a young composer with classic sensibilities I can't help but feel no inspiration in this score. It's a lot of droning and slow pockets of dullness. He'll bring in some electronic reverb and try to make it spooky, but it really never plays. The intense parts of the score sound more like his hardcore action scores and there is never a sense of uneasiness. Look at Hans Zimmer's score to The Ring, which is probably one of the best modern horror scores. It's the perfect example of creating uneasiness and mounting tension. It's also one hell of a thematic score which gives the audience an anchor point. The fact that there is no real theme here hurts it. If maybe there was some strong motif when death was starting to creep up it would create tension. The audience would feel it coming and begin to anticipate things thus creating tension. However, that doesn't happen and all we get are dreary strings.

Brian Tyler is a young guy with lots of talent, but his scores seem to be one big brushstroke instead of many tiny strokes to create a full picture. It's very easy to just follow in the trends of the genre or what previous composers have done, but if you're looking for really good horror scores these days then stick to the independents. I've heard many great hidden gems lately and now I cringe when I hear uninspired scores such as this.