In this film, in which high one or the other is not successful, can one say in any case that he did everything right: Patrick Doyle. Even through his soundtracks to Thor, Dawn of the Planet of the Apes and Merida, with whom Doyle skillfully proved himself in various genres, he made me curious for more. And also, now arrived in the spy movie genre, fits in Doyle everything together. Doyle demonstrates here again that he has an excellent talent to compose well-balanced, but also to surprise. He can suddenly from a fairly quiet early on the gas composition occurred with the orchestra. Degrees as if you in a moment to sit still quietly and start running in the next already. The Complete Works acts ultimately why so flush because Doyle understands itself in quiet pieces always maintain a certain level of stress, which manifests itself in an excellent thriller of course. But Doyle makes his compositions sometimes for untroubled sounds or sets a choir. The latter example in Track 7, where the choir shows the film plot is located just in Russia. Basil Poledouris also attacked in his score for the first time Jack Ryan movie 'Hunt for Red October' already on Russian choir back. Even the penultimate piece 'Ryan, Mr. President' sets its own accents and can completely stand alone. And in a time when people in many soundtracks feels there are garkeine distinctive themes on a film character adapted more, Doyle conjures with Track 24 'Shadow Recruit' prompt something out of the hat. Had there been another Jack Ryan movies with Chris Pine, one could use this piece very well as Jack Ryan default theme, like the Bond theme at 007 or the unmistakable Mission: Impossible Theme.
