The good: Unique score; does a good job of setting up suspenseful scenes throughout the movie; sets the mood very well; cool sound effects and tunes.
The bad: Not enough memorable songs on the soundtrack; the score doesn't set much of a theme.
Harry Gregson-Williams has scored two films for director Joel Schumacher before doing The Number 23. These first two scores were Phone Booth and Veronica Guerin. These first two scores were different though. Phone Booth was mainly an electronic score, and Veronica Guerin was more of a beautiful score that wasn’t electronic. The Number 23 is actually a mix of both, but leans more towards the electronic side. The “Opening Titles” set the feeling for the entire score and shows what two main instruments that will be used; an electric cello and a electric violin. This is all followed with a string orchestra, a trumpet processed to sound like a saxophone and electronic drums that were very well done. The second part of the score is more melodic and romantic-like and tones down a bit on the cello and violin.
The last two tracks (Room 23 and Atonement) are more melodic and make more use of the strings. There are some reoccurring bits that were heard in some of the previous tracks, which is backed by an alternate horn. Then later woodwinds come into the mix. The last 2 tracks combine at around 11 minutes and makes for some pleasant listening.
© New Line Records
The score for The Number 23 is a pretty unique one. It does a good job of setting up suspenseful scenes throughout the movie and it sets the mood very well with some cool sound effects and tunes. But the downfall is that there are not enough memorable songs on the soundtrack that can be enjoyed listening to. The score doesn't set much of a theme, however there are reoccurring bits, such as some string phrases.
Fans of Gregson-Williams' other thriller scores will enjoy this album for it's different musical sounds, but people looking for a melodic soundtrack should pass this one by.
