Without a doubt, the score for Unknown is a tale of two halves. Ottman's thriller works often open with haunting themes (Gothika, Hide and Seek, etc) and typically become more mundane as they progress, but the spiral downward in Unknown is truly massive. The best music that Ottman has ever produced in the genre has involved a keen sense of rhythmic movement, whether in the flair of Incognito or the creative sound of Point of Origin. This time, he again opens a score by establishing a strong feeling of motion, both in the churning rhythmic undertones and the meandering personality of his melodies for the film. In a way, think Mark Mancina's thematic highlights from Domestic Disturbance without the dominant Basic Instinct influence. With the exception of the shrieking dissonance in the latter half of "The Accident," the nearly twenty minutes from "Welcome to Berlin" to "Man Alone" quietly pulsate through urgent, engaging rhythms on piano, puffing woodwinds, restrained strings and electric guitar, and light percussive effects, usually exploring some variation on the piano-led primary theme. The best melodic cue is easily "Welcome to Berlin," which generates a contemporary atmosphere with the supporting guitar (much like a toned-back version of what Brian Tyler did with the concurrent Battle: Los Angeles) while the orchestral ensemble is led by piano and cello solos of deceptively elegant professionalism. That first twenty minutes churns through the thematic ideas with the same momentum and sound design as Point of Origin, pointing Unknown in the direction of a solid three-star listening experience. The second half of the score, however, is barely tolerable, resorting to cliched slashes and strikes befitting an assignment like House of Wax. Cues like "Evil Car" and "The Hospital" are devoid of the same linear structure, instead shifting obnoxiously between screeching string dissonance and pounding sound effects. A specific sample of an echoing thud is abused mightily during the chase half of Unknown, and what parts don't utterly repel you will bore you with their very tepid atmospheric stature. Only late in "Martin vs. Martin" does the humanity in the score return, and "Nice to Meet You" closes it out with a pretty flute sequence and short reprise of the main theme and its rhythmic foundation. Ultimately, Ottman and Rudd's music basically suffices, but the former composer's ability to generate style and movement in all situations is wasted in much of Unknown, begging inevitable questions about Rudd's involvement. Ottman typically writes music that is interesting even if it isn't particularly enjoyable, and unfortunately only less than half of this effort qualifies in even that basic regard. Approach with caution and turn it off after twenty minutes.  **   @Amazon.com: CD or Download