I think it places too much of the blame for this score's weaknesses (which render it merely effective, rather than actually listenable) on Trevor Rabin, and gives far too much credit to HGW. Considering the composers' respective discographies, I find it more likely that Rabin was responsible for the main themes. He's made a career out of simplistic, stirring melodies, regardless of what you think of his other work. HGW himself hasn't exactly conjured up a bunch of memorable tunes, and has shown himself more than willing to throw out naff electronic crap on occasion (Replacement Killers, the bad parts of Spy Game). Frankly, the lack of HGW's specialty (pleasantly-orchestrated blandness) in much of this score indicates to me that he had very little to do with it, for better or for worse.

This should all be taken with a grain of salt due to may personal bias: I'm a regular Rabin defender, while I think HGW is one of the most overrated composers of our generation.

In all, this a very mediocre score that serves its film decently and nothing more. Both composers have done better; Rabin, in particular has done much better: The Great Raid, Remember the Titans, Bad Company, Deep Blue Sea, and Texas Rangers are all strong, and feature great anthemic melodies.

> This should all be taken with a grain of salt due to may personal bias:
> I'm a regular Rabin defender, while I think HGW is one of the most
> overrated composers of our generation.

Especially when compared, if that's fair, to John Powell