Chronicles Of Riddick Soundtrack CD

Composer: Graeme Revell.
Personnel: Jean Sudbury, John Wittenberg, Cameron Patrick, Rebecca Bunnell, Songa Lee, Robert Matsuda, Harris Goldman, Shari Zippert, Ken Yerke, Songa Lee Kitto, Ezra Kliger, Olivia Tsui, Julian Hallmark, Debra Price, Ti Olvia Tusi, Robert Brosseau, Tibor Zelig, Norman Hughes, Gina Kronstadt, Terence Glenny, Galina Golovin, Vladimir Polimatidi, Juliann French, Charles Everett, Mark Robertson , Miriam Mayer, Clayton Haslop, Jim Sitterly, Armen Garabedian, Berj Garabedian, Rafael Rishik, Ronald Clark, Charlie Bisharat (violin); Jorge Moraga, Mimi Granat, Andrew Picken, Karie Prescott, Marda Todd, Pamela Goldsmith, Keith Greene, Maria Newman, David Stenske, Raymond Tischer, Darrin McCann, Denyse Buffum (viola); Mathew Cooker, Rick Naill, Richard Naill, Daniel Smith, Alexander Zhyroff, Kevan Torfeh, Suzie Katayama, Larry Corbett, Dan Smith, Steve Richards , Stefanie Fife, Victor Lawrence (cello); Robert Shulgold, Don Markese (flute); Michael Vacarro, John Mitchell J. (clarinet); John Yoakum, Joseph Stone (oboe); Peter Mandell, Andrew Radford (bassoon); Paul Salvo, Larry Hall , Rick Baptist (trumpet); Dick Nash , Richard Nash, Alexander Iles, Ken Kugler (trombone); John VanHouten (tuba); David Duke, Diane Muller, Joe Meyer , Yvonne S. Moriarty, Steve Durnin, Mark Adams , Richard Todd, Kurt Snyder (horns); Alan Estes, Marvins Gordy III, Robert Zimmitti (percussion); David Russo (programming).
Audio Mixer: Mark Curry.
Graeme Revell's score for The Chronicles of Riddick expands the moody string and choral cues from its predecessor, Pitch Black, resulting in a lush cacophony of forgettable orchestral swells and pounding action motifs. This time around, the composer flirts with the serpentine melodies of the Middle East, infusing his ominous landscapes with a much-needed sense of place. The main, two-chord theme that would appear occasionally in the series' first installment is given a larger role in Riddick, and to great effect. Gone are the overwrought keyboards, replaced here by the tireless Hollywood Studio Symphony, whose work reflects this film's larger bankroll. Atonal bursts of brass give way to excessive timpani abuse, and new character themes are introduced in name only. As expected, bigger means louder, and for fans of epic sci-fi scores Riddick doesn't disappoint, but for those hoping for a visionary summer blockbuster anomaly, time marches on. ~ James Christopher Monger