Christopher Coleman of Tracksounds wrote "The score for Gamer certainly connects the audience to the technological and even diabolical sides of the film,but leaves out any traces of humanity [...] If there is such a thing as "musical masochism" Gamer might just be it."[3] Jonathan Broxton of Movie Music UK wrote "Gamer has no soul. It’s just there,sitting on top of everything,incessantly blaring away,creating an artificial sense of excitement,whipping up a storm with no indication that there is a film underneath it all which might actually benefit from music that amounts to more than industrial groans,bad rock music and bad video game sound effects."[4]
William Ruhlmann of AllMusic wrote "This is not subtle material,but it is stirring,and Gamer is a movie that requires such bombast."[5] Bill Gibron of PopMatters wrote "This may just be the post-post modern trend for film soundtracks,and if it is,it’s fantastic."[6] Brent Simon of Screen International noted that the technicalities,including Zanelli and Williamson's score "are all heavily treated,to match Neveldine and Taylor’s caffeinated aesthetic. And this doesn’t leave much room for memorable performances".[7] Jeannette Catsoulis of The New York Times and Rob Nelson of Variety found it "offbeat" and "pulsating".[8][9]
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