The vast collection of sampled sounds in the score for Unstoppable is sometimes changed in pitch to produce groaning effects and other expected variants, and the composer does alter rhythms, of course, to match the pace of each scene. But where is the application of situation-appropriate samples and score-wide maintenance of propulsive acceleration? Certainly, Gregson-Williams could have employed the sounds of trains amongst his normal supply of samples, and their absence is surprising and unacceptable. Also, while the narrative of the score is decently summarized by the application of its two themes, it doesn't generate its rhythmic movement in such a way as to suggest a gradual ratcheting up of tension or speed. The tapping, banging, and groaning loops at the start of the score move at the same pace as those at its climax, another curious and unacceptable choice given the potential this plot had for progressively intense music. One can't help but long for the days when Jerry Goldsmith would have used this occasion to carefully develop his palatable, but effective rhythms (and a full orchestra) with clear acceleration over an hour to mirror the film's title. That said, Unstoppable is basically sufficient is a less intellectually stimulating manner and thus won't really offend anybody on its album. That product doesn't actively impress, either, with its highlights ironically being the token moments of bare-bones character development. The two themes for the pair of heroes in the story are sufficiently warm but not particularly memorable outside of their capacity for reminding you of famous songs. They receive about equal treatment on album, both summarized in the easily digestible concluding cue, "Who Do I Kiss First?" The idea for Washington's character contains two parts, first presented in nimble seven-note phrases on strings and then yielding to a more melancholy interlude on piano. The two parts are typically presented together, rotating in "Frank Barnes," "Are You In or Are You Out?," and for the latter majority of "Who Do I Kiss First?," though the piano portion is heard alone at the end of "Realign the Switch." The other theme is a bit more nebulous, perhaps representing the film as a whole (its absence in "Will's Story" suggests that it may not be for Washington's co-star, Chris Pine). This theme's distinctive three-note phrases open "Stanton, PA" and "Who Do I Kiss First?" and gain traction as the score progresses (as in "Will Guides 1206"). All of these ideas are generic, and as softly pleasant as the ten minutes of thematic material can be on album, the half of hour of dissatisfying, boring suspense and action music in Unstoppable is, in fact, quite stoppable.  **   @Amazon.com: CD or Download