Buy it... only if you are very familiar with Harry Gregson-Williams' established electronic suspense mode of atmospheric intent and seek a restrained extension of the thematic development in Gone Baby Gone.

Avoid it... if you expect anything before the final minute of this sadly generic, largely ambient score to match the depth of development in the characters of The Town.

Gregson- Williams

The Town: (Harry Gregson-Williams/David Buckley) The humanization of professional criminals is the goal of Ben Affleck's 2010 crime thriller The Town, examining the psyches of a veteran crew of bank robbers in Boston and, in particular, the mixed emotions that result when the group's leader falls in love with the manager at the bank of one of his prior robberies. Affleck writes, directs, and stars in the picture, conveying his disillusionment with his family-honored profession but finding it difficult to extract himself from his crew even when the FBI closes in on him. Buzz about The Town prior to its release was overwhelmingly positive, Affleck's ability to generate interest in a generic concept through engrossing character development praised early and often. Among the consistencies in Affleck's style of moviemaking, along with all the hallmarks of Boston, is the kind of music he has preferred in both this film and his directorial debut in 2007, Gone Baby Gone. He returns once again to the services of veteran chameleon Harry Gregson-Williams to provide the balance between technologically-defined, urban suspense and traditionally harmonic, character-based themes. Gregson-Williams' career has been difficult to define since his successful graduation from his affiliation with Hans Zimmer, alternating between orchestral epics and extremely minimalistic suspense scores. The latter style has tormented fans of the former since the late 1990's, and the composer's workmanlike synthetic ambience keeps him busy despite translating into generally boring listening experiences on album that appeal to only a subsection of his collectors. A fellow composer and regular collaborator of Gregson-Williams is David Buckley, who wrote additional music for many of the more famous composer's assignments, including Gone Baby Gone. For The Town, Buckley finally receives official co-compositional credit for his contribution, though the score doesn't really have any of the usual indicators of incongruence or disparate styles that sometimes results from such partnerships. Anyone familiar with Gone Baby Gone and this pair's prior suspense works on a smaller budget (or limited scope) will hear absolutely nothing new in The Town. Unfortunately, with the depth of character development in this film, a more intellectually thoughtful and less conservatively ambient approach may have been a better solution.

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The ensemble for The Town is predictably sparse, relying heavily on the synthetic realm to not only maintain rhythmic flow but also perpetuate a hazy, foggy feeling of dissatisfaction experienced by the primary character. An orchestral string section joins a piano and electric guitar in addressing the sensitive side of his struggle, with the strings sometimes providing a layer of gravity to the otherwise stale and standard sampled rhythms. Structurally, The Town consists of two main elements and little in between to connect them. The electronic side of the score that dominates its running time alternates between subtle and marginalized loops of nondescript character and thumping, abrasive action cues, offering little new to these composers' enthusiasts. Leading in terms of volume is "Bank Attack," which uses sampled screaming bird sounds (seagulls?) and backwards edits of the same old synth tones of the 1990's to create an obnoxious environment of fear. Most of the other cues will slip past without any notice, only the slightly dissonant aspect of their character forming a memory. Some typical 2000's string ostinatos hinted at in "Who Called 911?" and bursting in "Leaving" give these tones some late life, but they still are tired devices. The second half of The Town (though the minority of its running time) is its main attraction, consisting of a lovely theme that understandably takes the entirety of the score to express the extent of its heart. Heard in troubled shades on guitar in "Doug Reflects" and piano in "Healing and Stealing" and "The Necklace," the pacing of this theme starts to show signs of life in "Sunny Days" before truly blossoming in "The Letter." That last cue contains the only full ensemble performance of the theme, led by a longing violin solo that exudes the personality of an Irish lullaby not too dissimilar, quite strangely, to parts of Joel McNeely's 2008 score for the children's film Tinkerbell. Unfortunately, this absolutely gorgeous, single-minute conclusion to the score is, even along with the five or so minutes of acoustic reflection prior, both too derivative a sound and too little, too late to save what is ultimately a troubling and thankfully short album experience. The electronic techniques utilized here are beyond the days of their intelligent usefulness, especially in an album presentation, and Gregson-Williams and Buckley fail to adapt the thematic base of the score into these suspense cues with any of the convincing intrigue that a film like this deserves. It's a frustratingly underachieving and generic score. **   Amazon.com Price Hunt: CD or Download

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For Harry Gregson-Williams reviews at Filmtracks, the average editorial rating is 2.97 (in 31 reviews) and the average viewer rating is 3.04 (in 49,616 votes). The maximum rating is 5 stars.