Reception
Jonathan Broxton wrote "Holmes's ensemble remains consistent: a modern string section, jazz percussion, Hammond organs and blaring horns, bass woodwinds and electric guitars to be the order of the day throughout the score, encompassing perfectly the permeating feel of Vegas cool that has run through the entire film series to date. Loungy 1960s rhythms which sound like they could have come from pen of a young John Barry or Jerry Goldsmith combine with a heavy dose of 1970s funk, and although most of the tracks are very much rooted in the same style and feel, the album as a whole is a pleasing diversion." [2] William Ruhlmann of AllMusic wrote "All that keeps this music from working well on its own is that, due to the editing demands of the film, the cues tend to be so short, some less than a minute in length, so that the band launches into an interesting musical idea, only to stop abruptly when a scene in the movie changes." [3]
Spence D. of IGN wrote "Whether or not Ocean's Thirteen lives up to the slick fun of Ocean's Eleven and surpasses the sloppy seconds of Ocean's Twelve remains to be seen. Regardless of the outcome, however, at least Steven Soderbergh can rest easily knowing that he tapped the right man for the soundtrack. More importantly David Holmes and the musicians he used can rest assured that they have crafted a sound that is both vintage and of the here and now and have made the type of film music every composer dreams about: music that transcends the film going experience and is able to stand on its own merits." [4] CNN noted that Holmes' "retro musical cues" propel the film. [5] David Fear of Time Out called it an "impeccable retro-chic score". [6] A reviewer from Readjunk called it "Probably one of the best scores by Holmes to date". [7]
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