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As the respected chief of police in a small town in the Florida keys, the mystery of the investigation continues to build as more of the clues and evidence in the case point at himself. Director Carl Franklin had rotated between several composers (from Cliff Eidelman to Elmer Bernstein) for the ten films in his career, and for Out of Time, he continues his collaboration with composer Graeme Revell from last year's High Crimes. Revell has had a productive, although somewhat disappointing year in 2003. His score for Daredevil was too highly anticipated, and when combined with Freddy vs. Jason this summer, Revell's output has been strong, but underwhelming. Fortunately, Out of Time is a project that leads Revell down an entirely different genre path. The setting of the thriller establishes the mood for the score, and Revell jumps at the opportunity to fill the film with wall to wall ethnicity. Utilizing a combination of Latino, Cuban, and African rhythms and instrumentation, Revell has done what was probably not necessary for the film (the way Hollywood goes these days, we could very easily have ended up with a lifeless, electronic underscore for a film like this). The active Caribbean spirit in Out of Time is a marvelous choice for the film's musical identity, and despite the smaller size of its ensemble, the end result fills the room with a diverse range of sound. Revell removes the soft woodwind elements of the orchestra and keeps the strings and brass as an accompaniment for his Latino band. Drums, guitars, keyboards, bass, and trumpets are the heart and soul of Out of Time, performing a snazzy title theme that swings with several different Caribbean rhythms. Revell effectively adapts elements from Latino, Cuban, and African pop music with slight touches of more traditional American jazz to produce a truly international score. The authenticity with which Revell accomplishes this task is fantastic, especially when considering that Revell is a New Zealand native who grew up on the piano and French horn. In addition to the convincing composition, the performances in Out of Time make it a highly engaging and enjoyable listening experience. Much of the music is surprisingly relaxed, sometimes featuring a lazy trumpet solo that meanders in the distance, perhaps as a reference back to mysteries of the film noir age. The score does have its moments of troubled underscore, but never in a traditional, orchestral sense. Revell's drums and other percussion are always present, propelling the score (and undoubtedly the film) at a rolling pace of intrigue. These moments of suspense are really the only times during which the orchestral ensemble performs in full. Luckily, the statements of the title theme (and its accompanying rhythm) are spaced throughout the score at regular intervals, always ready to spice up the listening experience just when needed. Revell's official main title theme performance features an acoustic guitar, while other performances feature enhanced mixes for the trumpet in one case and a keyboard in another. The underlying rhythms and drums may be the same, but the theme's infectious personality is so attractive that each performance mix, or variation, is a welcomed addition to the score. Piano solos, African sound effects on the synths, and an occasional female vocal round out the depth of the music. From start to end, Out of Time has style, and you can't help but love the ease with which this music flows between its components. The score is mixed with an intimate, but "wet" sound quality that would accompany this music if it were performed live in a club. Overall, it's one of the most entertaining listening experiences of 2003, and if only there was more material behind the remixes of the title theme, Out of Time would be one of the best scores of the year as well. ─ Contact ───────────────────────────────────────────── ─── ─ ─ Contact us @ : #eos (efnet) █▀▀ ▀ ▀ ▀▀█ ▀█▀▓▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▓▀█▀ ▀▀▀▀▀▀ ▀ RIPPING AT ITS FINEST -- ECONOMY OF SOUND ▀ ▀▀▀▀▀▀