A soundtrack inspired by a movie inspired by a video game -- that is a true sign that the entertainment industry is eating itself alive. Sparing any more commentary on the ridiculousness of the situation, this is basically a collection of heavy metal and aggressive electronica thrown together out of previously released material. There are a few remixes and Marilyn Manson contributes some original music for the score, so the album isn't completely made up of old stuff. Slipknot contributes a new mix of "My Plague" that sheds everything that makes it heavy and listenable in the first place, starting the album off on a blatantly commercial and unappealing note. Yet Slipknot turns around and remixes Manson's "The Right Song," managing to make it heavier, more aggressive, and ultimately much better than the original mix. Manson's other contributions are also quite good, showing that he may not always get along with mentor Trent Reznor, but he has at least learned some lessons about songwriting from him. Coal Chamber delivers a pretty average song with a great Korn-esque breakdown toward the end that really shapes up the song. The always dependable Fear Factory does what the band does on virtually every metal soundtrack it ends up on, stealing the show with a well-written, intelligent song that puts half the artists here to shame. Static-X sounds great with a Ministry-lite chug, but Rammstein only sounds OK when attempting the same shtick. Depeche Mode delivers the real shocker with a solid and tense cover of the Stooges' "Dirt," turning it into a campy angst-fest that still works despite the group's bizarre transformation into an industrial metal band through the years. Prodigy's excellent remix of Method Man's "Release Yo Delf" is another pleasant surprise, building a huge DJ Muggs-style beat behind the rapper's gruff voice. And the rest of the album is actually pretty decent, highlighted by some interesting industrial metal that never falls below average. Altogether, this is a pretty good album that may not live up to the standards set by the little-heard Faust soundtrack album, but still delivers enough good music to please pickier fans of the genre.
AllMusic Review by Bradley Torreano