From Clemmensen's Review:

It's almost as though the music puts you in the head of a person who has an immense headache, and that either signifies a great success by Arnold, or a total musical failure.

Upon viewing the film, I'm going to have to say that the score was indeed a great success. Now, if this had been Arnold's first film score, then the "musical failure" comment might be a little more understandable since it might give one the impression that Arnold's film music work wasn't going to move much past his "rocker" days...but that's far from the case, Mr. Clemmensen, and you know it.

Arnold has proven that he can transcend genres and deliver exactly what a film needs whether it be more subdued urban emotion (Baby Boy, Shaft), or a full-force epic thematic bombast-fest. With that kind of precedent set, then you can be pretty sure that if Arnold delivers a themeless mono-mood brooding score, then that's precisely what the film needs...and you know what? It was.

I recommend the film to anyone by the way...it's really well done and features a rare respectable performance from Afleck who is finaly in a roll where he doesn't have to act "cool" all the time. The film is about the dark side of the human spirit when two people's buttons are pushed precisely the wrong way and the limits of being humane are pushed almost past the point of no return. The continual spirit of brooding stress and anger is conveyed effortlessly by Arnold's score which never intrudes, but always supports and keeps the film's spirit moving in the same dark direction. That, Mr. Clemmensen, is why Changing Lanes is far from a "musical failure" and should most definitely be defined as a "great success."

-Brendan