Reception
Jonathan Broxton of Movie Music UK wrote "Predator:Killer of Killers is a great score,exciting and modern and frenetic,and with just enough of a hat-tip to classic Alan Silvestri to please long-standing franchise fans." [5] In contrast, Filmtracks wrote "Overall,there is a lot to like in the strategy of Predator:Killer of Killers,Wallfisch as intelligent as ever in his spotting sessions. The "Japan,1609" cue is quite wonderful at times. But his brutal,over-produced rendering is too obnoxious to tolerate,a trait not congruent with Silvestri's original vision for the concept. His music continues to prove that there is no need for the blaring bass region stupidity we hear decades later as the commonly accepted representation of masculinity in film music. Like Mortal Kombat ,this score badly needs culled into the palatable portions,but there are simply not enough highlights to really make such an action worth the effort." [6] Ben of Soundtrack Universe wrote "the score as a whole too often dips into highly processed and annoying modern action tropes to earn a higher rating,though if the streaming statistics are anything to go by,this reviewer remains very much in the minority with this opinion. In other words approach with caution and one's milage may vary... which seems to be a running motif with 2025 scores." [7] Alex Maidy of JoBlo.com noted "With composer Benjamin Wallfisch giving his first score for an animated film,this movie never feels like a small effort and eschews the label often given to animated spin-offs." [8] Amy West of GamesRadar+ described it as a "gorgeous score", [9] Carlos Aguilar of Variety and Frank Scheck of The Hollywood Reporter called it "exhilarating" and "impactful". [10] [11]
This page is based on this
Wikipedia article Text is available under the
CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.
