While this soundtrack is mostly forgettable as a lackluster compilation, it does have one noteworthy characteristic, standing as a well-compiled example of just how derivative heavy metal had become by the end of the 1990s. For the most part, all of the featured bands and their respective contributions are little but second-generation attempts to duplicate the sound of Korn, Limp Bizkit, and Rage Against the Machine, arguably the three most important heavy metal bands of the mid- to late '90s -- and undoubtedly the most influential. The most interesting moments on this album aren't when P.O.D. does its best Limp Bizkit imitation or when Project 86 presents its take on Korn, but rather on the few songs here that aren't obviously derivative. Tony Iommi and Dave Grohl's "Goodbye Lament" is interesting mostly for its unlikely combination of Black Sabbath riffs and Foo Fighters melodicism; Marilyn Manson does his best to present a gloomy ode to suicide much in the spirit of Nine Inch Nails circa The Downward Spiral, also harking back to some of David Bowie's more creepy moments in the early '70s; and the album-concluding "Feel Good Hit of the Summer" by Queens of the Stone Age is good for a smile with its fun celebration of gluttonous drug use. Yet when the best song on the album, Rob Zombie's industrial heavy metal anthem "Dragula," is an already acknowledged heavy metal classic of the 1990s, it's pretty obvious that executive producer Marilyn Manson is struggling to piece together a worthwhile soundtrack, as he is forced to choose from the glut of second-rate heavy metal bands signed to the majors after the unexpected popularity of the three aforementioned bands, Korn, Limp Bizkit, and Rage Against the Machine. This soundtrack either needs more diversity or it should have included more well-known hits such as "Dragula"; as is, it should appeal to only those with an insatiable taste for derivative late-'90s metal.
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AllMusic Review by Jason Birchmeier