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Review of Resident Evil: Extinction (Charlie Clouser)

FILMTRACKS RECOMMENDS:

Buy it... in the context of the movie if you're deaf; that way, you can appreciate Milla Jovovich's conveniently displayed thighs without being subjected to Charlie Clouser's awful music.

Avoid it... if you are an evolved creature of at least marginal intellectual development and have thus transcended beyond the usual kind of brainless, industrial video-game music aimed at horny teenage boys.

FILMTRACKS EDITORIAL REVIEW:

Resident Evil: Extinction: (Charlie Clouser) Amazingly, in the 2000's, the Resident Evil franchise managed to become the most fiscally successful video game-derived topic ever to be adapted to screen. That didn't stop the screenplays of the four films from 2002 to 2010 to require less intelligence with each entry, of course, but who cares about intellectual or logical coherence when every sequel is good for $50 million in domestic returns and maybe even $150 million worldwide? The third entry in the franchise is Resident Evil: Extinction, yet another pitch towards bored, horny teenagers in search of cheap, gruesome mayhem and a little more flesh from concept icon Milla Jovovich. The virus that wiped out Racoon City in previous films has now been spread by the shady Umbrella corporation over the entire planet, infecting nearly all people and animals. They've also managed to destroy the environment better than American Vice President Dick Cheney (like Alice, capable of shooting people in the face) could have ever dreamed, too, with no plant life or water to be found. The setting of Resident Evil: Extinction is quite a contrast, however, taking the slogan of Las Vegas literally and burying it in sand; our slinky, super-human heroine meets up with some recurring characters (and character stereotypes) in this vicinity and shockingly does battle with the mutants and zombies in broad daylight. That last part is alone such a violation of the zombie genre that it cannot be excused; special effects technology, however, must be inexpensive enough to allow for fully rendered monsters without the money-saving convenience of a shadowy set. The problem with the film, as usual for the brainless franchise, is that it doesn't attempt to convince us of character motivations and assumes that everyone on screen will make about the dumbest goddamn choice possible in order to put them into a situation of peril from which good old Alice can rescue them. Of special note is an obvious rip-off of Alfred Hitchcock in a bird attack sequence. It's not surprising that these films receive nothing more than glorified video game music; even the most basic looped, industrial trash will suffice to help sustain the erection of an average teenage boy who toils five grade levels below his expected scholastic levels in math and language skills because his parents allow him to marvel at Jovovich's thighs and killing prowess without hesitation.

All of the first four Resident Evil films have received music from a different composer, and Nine Inch Nails keyboardist and producer Charlie Clouser had the honor of bestowing his own brand of sorry noise upon the concept. He replaced Jeff Danna, who to date has offered probably the most sophisticated music (for Resident Evil: Apocalypse) and was himself replaced in 2010 by "Tomandandy." For Clouser, Resident Evil: Extinction represented his most high profile cinematic assignment outside of his work on the Saw franchise, for which he received the recognition necessary to propel him on to a career consisting of mostly low budget television series music. Like his other scores, Resident Evil: Extinction is an exhibit of Clouser attempting to merge his rock sensibilities with established industrial metal techniques in the film score world, borrowing most heavily from Paul Haslinger. The ensemble consists of himself and two guests on electric guitars, so expect the usual, generic kind of synthetically rendered filler material. In context, everything about this bass-dwelling series of pounding loops and grinding sound effects is of sufficient brain power. There's very little, outside of a vague keyboarded theme of relief here and there, to inspire feelings of hope. Harmony is definitely not on the menu, not even the gloriously wicked, minor-key variety. Clouser does reference Marilyn Manson's theme from the original film, a skittish, descending figure heard mostly at the start of several early cues and appropriately mechanical in its movement. No clear beginning, middle, or end exist in this music; there is absolutely no narrative to be gleaned from it. Clouser's ability to produce irritatingly retro synthetic tones on his keyboards, along with the necessary manipulation of samples, reminds of Brad Fiedel's less inspired music. The backwards edits, pitch slurring, and outright dissonant metallic effects are tired, pointless echoes of the techniques of yesteryear, and it's amazing that people like Clouser are actually retained by studios to continue pumping out this trash for decent paychecks. The only hint of creative programming comes during the bird attack sequence, during which the expected sound of flapping of wings is turned into an instrument of horror. On album, the score is divided into a whopping 34 short cues, and this 64 minutes of material drags on and on without respite. Several times during that hour, you'll find yourself jiggling the connection between your headphones and your music player to make sure there isn't some loose metal causing the awful sound emitted into your ears.  *

TRACK LISTINGS:

Total Time: 64:00

• 1. Clone Awake* (0:46) • 2. The Ditch (1:50) • 3. Alice Ride* (0:55) • 4. Dog Attack (2:17) • 5. To the Hive* (2:35) • 6. Flysolated (0:55) • 7. Convoy* (0:40) • 8. Motel Closet (2:26) • 9. Dexterity (2:01) • 10. Perimeter Fire (2:53) • 11. Telepathic Sense* (1:39) • 12. Desert Walk (1:09) • 13. Birds Attack (4:46) • 14. Choose Sides* (2:12) • 15. Carlos Hug (2:35) • 16. Positive ID (2:28) • 17. For Alaska (2:57)

• 18. New Orders (2:25) • 19. Vegas Journal* (0:42) • 20. Container (2:29) • 21. Open Box (1:49) • 22. Losing Texan (1:35) • 23. To Tent (2:00) • 24. Tentacles* (1:22) • 25. Carlos Plan (2:25) • 26. Tanker Truck (2:48) • 27. Others Gone (1:06) • 28. Elevator (1:12) • 29. Your Blood (2:04) • 30. Clone Bubble (1:23) • 31. Alice Pic (0:45) • 32. Isaacs Dead (2:45) • 33. Laser Tunnel (0:25) • 34. New Headquarters* (1:54)

NOTES & QUOTES:

The insert includes no extra information about the score or film.

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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 Resident Evil: Extinction are Copyright © 2007, Lakeshore Records and cannot be redistributed without the label's expressed written consent. Page created 10/20/10 (and not updated significantly since).