Two great themes, but the rest

John Powell brought the original trilogy of X-Men with a really great Power score to end. But X-Men was of course far from the end, on the contrary, now it really started! It started with X-Men Origins Wolverine, who apparently is the weakest X-Men movie for many. But what about the music? Unfortunately, Powell was not charged again, but a good colleague of his got the job: Harry Gregson-Williams. Both together have written some really fantastic film scores such as Chicken Run and Antz. If both traveling alone but they are also very good at her job, just Powell is a movie musical genius, in my opinion, and composes very peppy and increasingly without electronics. Gregson-Williams is more true to his Media Ventures style and his teacher Hans Zimmer, one often hears out clearly. So even at Origins. So who has no use for Rooms & Co, who will be very disappointed here. Unfortunately, the fans of the remote control music will not be particularly happy, why?

Gregson-Williams composed first time a great and really catchy main theme for Wolverine, which is also fully played out in the very first track Logan Through Time. Impulsive, heroic, dramatic and for me the best thing about the music, even if it is obviously not a masterpiece. There are also the beautiful Kyla theme, apparently the love motif. Although it sounds very typical of today's standards (piano, strings foreseeable use), but I mags. Just a pity that both issues are rarely played. Although Kylas topic just two or three times and the great main theme gets a few more appearances, unfortunately the variations are not significant particularly

Otherwise we Gregson-Williams presents a very flat and unimaginative score in the whole 45 minutes. The forced choirs sounding one to one from The Rock (where he worked with Hans Zimmer and Nick Glennie-Smith worked) adopted and the title Wade Goes To Work sounds more like Trevor Rabin Gone in 60 Seconds, than for a X-Men soundtrack. The action parts sound ok, but innovation can be found at any second. Clearly it is very difficult to bring today innovation in film music, but what most bothers me is the fact that Origins does not have its own sound. Apart from the main theme of all sounds like rooms, sometimes James Horner and by many other composers that I now do not have to enumerate Sure the music is doing a good job in the film and accompany the scenes quite appropriate, alone on CD it acts but colorless, uninspired.

Conclusion: After 45 minutes listening to the main theme remains to hang anything, in my opinion, neither musically nor emotionally. A far too average superhero Core and both the weakest work of Gregson-Williams for me, and the weakest X-Men soundtrack!