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The Replacement Killers
(1998)
Album Cover Art
Composed and Produced by:

Additional Music by:
Steve Jablonsky
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LABEL & RELEASE DATE
Varèse Sarabande
(March 10th, 1998)
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ALBUM AVAILABILITY
Regular U.S. release.
Awards
AWARDS
None.
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ALSO SEE




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   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if there is no limit to the amount of sampled rhythms and sampled sound effects that you enjoy from the early days of the Media Ventures library.

Avoid it... if you expect the memorably sorrowful theme for the primary character in the film to occupy any more than two minutes on album.
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EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #436
WRITTEN 8/29/98, REVISED 3/31/07
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Gregson-<br>Williams
Gregson-
Williams
The Replacement Killers: (Harry Gregson-Williams) If a film were ever to be ghost-directed by John Woo, then Antoine Fuqua's The Replacement Killers would be it. After years of Woo-choreographed films in Hong Kong, actor Chow Yun-Fat made his arguably successful American debut in 1998, and The Replacement Killers was met with plenty of skepticism by American critics who couldn't see through the blinding visual style of the production to witness the plain fact that Yun-Fat's transition worked. Now revered both worldwide and in the United States, the actor has gone on to far more diplomatic and intelligent films. But The Replacement Killers, despite all of its brutish killing and reliance on cinematography over plot, portrays the sophisticated elegance of his persona with ease. Parts of The Replacement Killers function brilliantly (who can argue against his actual introduction to American audiences at the colorful, smoky outset of the story?) while others don't; the only reason Mira Sorvino existed in a film like this was to make her look tough in a short skirt and boots. The story of the film is irrelevant, but it does make clear that if you're a professional assassin like Yun-Fat's John Lee, and you choose not to kill that son of a cop as per your assignment, then expect a serious can of whoop-ass to be unloaded on you and everyone you come in contact with. At least we never see a romance between Yun-Fat and Sorvino... the film takes its violence far too professionally for that kind of swap of bodily fluids. The style of the picture not only compensates for rather flat acting and a ridiculous script, but The Replacement Killers is also a prime example of how a film floats its score, and not vice versa. Composer Harry Gregson-Williams was still stuck in the Media Ventures rut in 1998, producing amateurish music like this and Enemy of the State with Trevor Rabin. Even his contributions to Armageddon the same year, despite their limited qualities, still gave no indication that this was a composer who could someday make the waves that he has in the 2000's.



Ratings Icon
VIEWER RATINGS
776 TOTAL VOTES
Average: 2.47 Stars
***** 91 5 Stars
**** 78 4 Stars
*** 157 3 Stars
** 230 2 Stars
* 220 1 Stars
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Track Listings Icon
TRACK LISTINGS AND AUDIO
Audio Samples   ▼
Total Time: 36:15
• 1. John's Theme (2:43)
• 2. Stalked (3:58)
• 3. The Temple (2:28)
• 4. He Means Business (3:16)
• 5. Kill or Be Replaced (2:18)
• 6. We Have Visitors... (2:11)
• 7. John Reflects (2:04)
• 8. Surreal Shoot-Out (3:57)
• 9. John Traps his Man (3:47)
• 10. Race Against Time (3:04)
• 11. The Heavies Arrive (2:53)
• 12. Final Confrontation (3:38)

Notes Icon
NOTES AND QUOTES
The insert includes no extra information about the score or film.
Copyright © 1998-2017, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from The Replacement Killers are Copyright © 1998, Varèse Sarabande and cannot be redistributed without the label's expressed written consent. Page created 8/29/98 and last updated 3/31/07.
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