Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
     1. Clouds
    2. Enola Holmes
   3. Mulan
  4. Tenet
 5. The One and Only Ivan
6. Project Power

       1. Godzilla: King of the Monsters
      2. Romeo and Juliet
     3. The Monkey King
    4. John Williams in Vienna
   5. Space Battleship Yamato
  6. Willow
 7. Ready Player One
8. Ghostbusters
         1. How to Train Your Dragon
        2. Nightmare Before Christmas
       3. Gladiator
      4. Alice in Wonderland
     5. Harry Potter: Sorcerer's Stone
    6. Superman
   7. LOTR: Return of the King
  8. Titanic
 9. Raiders of the Lost Ark
10. Joker
Home Page
End of Days
Album Cover Art
Composed, Conducted, and Produced by:

Orchestrated by:
Brad Dechter
Frank Bennett
Don Nemitz
Ira Hearshen

Boy Soprano Vocals by:
Theo Lebow
Labels Icon
Varèse Sarabande
(December 21st, 1999)
Availability Icon
Regular U.S. release. A song-only compilation with none of Debney's score was released prior to the film's opening.
Also See Icon

Decorative Nonsense
(inverts site colors)

   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you like your apocalyptic bombast to feature the resounding depth of a large orchestra, ethnic instrumentation, choral solos and ensembles, and a variety of finely tuned electronics.

Avoid it... if you require a straight-forward "Carmina Burana" style of harmonic force that is largely betrayed by John Debney's insertion of harsh industrial tones into this score.
Review Icon
WRITTEN 11/21/99, REVISED 5/4/08
Shopping Icon

End of Days: (John Debney) Oh, how wonderful it was to prey upon the fears of fools who honesty thought there was a chance that the world was going to end at the conclusion of December 31st, 1999. As if the fear inherent in religious faith wasn't enough to alone inspire mass suicides across the planet on that regular day, Hollywood had decided a few years before to unleash its own spectacle of horror just in time for the over-hyped turn of the calendar. The most widely advertised such film was Peter Hyams' End of Days, marking the return of Arnold Schwarzenegger from three years of absence and serious medical problems. Schwarzenegger leads as a suicidal security cop who alone realizes that Satan, in the delightful form of Gabriel Byrne, walks the city in search of a woman with whom he can produce the heir to a reign of Hell on earth. This all takes place, of course, in the final days and hours of the year, and Schwarzenegger, who had been berated for the poor quality of his roles in the mid-1990's, was praised for his attempt to expand his career. Still, End of Days, like the turn of the millennium, never achieved the promised level of interest and the film has become little more than a footnote for both cultural insecurity at large and several members of the production. One such person was composer John Debney, who ironically was nominated for his first Oscar five years later for the antithesis to End of Days, The Passion of the Christ. Both scores are extremely accomplished in their duties, though End of Days is a far, far more challenging listening experience. Debney had been one of those composers every film score fan was rooting for but who, more often than not, never received the kind of assignments to launch him to the top of the A-list of composing talents in Hollywood. End of Days was a chance to truly tap into the mainstream, however, being that it offered the largest blockbuster venture of his career at the time.

In response to the opportunity, Debney pulled out all the plugs for End of Days. With a massively eclectic selection of featured instruments and styles, Debney utilizes a large orchestra, ethnic instrumentation, choral solos and ensembles, and a variety of finely tuned electronics. With so many popularly recognized motifs used in religious horror scores of the past few decades, Debney attempted to lead the genre in a refreshing new direction. He made a conscious decision to avoid the "Carmina Burana" style of thought, instead choosing to define the satanic millennium thriller score with electronic textures, ethnic curiosities, and solitary vocals. Debney's work in the horror genre had been significantly underwhelming, with The Relic and I Know What You Did Last Summer not maintaining much identity beyond the end of their running times. The significant scope of End of Days, however, makes those two previous efforts sound like only practice runs. Debney's contribution to the film is both monumental and engulfed with sinister attitude, and unlike his previous horror works, this one captures the terror of the film with a relentlessly brutal, more intelligent stature. Recalling his intentions when beginning the scoring process for End of Days, Debney stated that he wanted the score to have a sharper edge than any of his previous efforts, and upon hearing the results, many of his collectors could agree that he succeeded. Recorded over three days in Los Angeles, the score features much more depth than a typical 80-player ensemble will normally produce. Credit this enhancement to Debney's attention to the aforementioned textures that he mixed into the finished result with the assistance of Skinny Puppy band member Cevin Key. The striking style of End of Days, with these plentiful and unique techniques, makes it an interesting album experience even if it isn't readily accessible harmonically through most of its length.

Ratings Icon
Average: 3.71 Stars
***** 837 5 Stars
**** 611 4 Stars
*** 412 3 Stars
** 224 2 Stars
* 214 1 Stars
  (View results for all titles)

Comments Icon
Read All Start New Thread Search Comments
Rapture: 404 Error
Scott B. - May 23, 2011, at 7:28 p.m.
1 comment  (1428 views)
Sanskrit Lyrics Request
Joshua - May 6, 2006, at 7:56 a.m.
1 comment  (2635 views)
angel face?
fzl - April 3, 2006, at 9:32 a.m.
1 comment  (2611 views)
N.R.Q. - November 2, 2005, at 9:53 a.m.
1 comment  (2609 views)
End of Days is a great score!
Luis L. - January 28, 2003, at 11:59 a.m.
1 comment  (3329 views)

Track Listings Icon
Audio Samples   ▼
Total Time: 40:28
• 1. End of Days Main Title (2:52)
• 2. Porcelain Man (1:17)
• 3. The Shooter (1:41)
• 4. The Tunnel (1:44)
• 5. Alley Fight (2:18)
• 6. Baptism in Blood (1:42)
• 7. Helicopter Pursuit (3:06)
• 8. Satan Walks the Streets (1:46)
• 9. Crucifiction (2:10)
• 10. The Beast Comes a Callin' (2:08)
• 11. The Gates of Hell (2:41)
• 12. Subway Attack and Escape (4:46)
• 13. Jericho Finds Faith (2:45)
• 14. The Eternal Struggle (1:46)
• 15. Redemption (2:40)
• 16. End of Days Alternate Main Title (2:44)
• 17. End of Days Dance Mix (2:06)

Notes Icon
The insert includes no extra information about the score or film.
Copyright © 1999-2021, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the 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 End of Days are Copyright © 1999, Varèse Sarabande and cannot be redistributed without the label's expressed written consent. Page created 11/21/99 and last updated 5/4/08.
Reviews Preload Scoreboard decoration Ratings Preload Composers Preload Awards Preload Home Preload Search Preload