Composer Ramin Djawadi, who previously worked with director David S. Goyer on Blade: Trinity, rejoins him for The Unborn. Also scripted by Goyer, the film is a sort of Hebrew take on The Exorcist in which a woman is possessed by a dybbuk, with references to the Holocaust thrown in. It's not as prestigious a project as Djawadi's last one, Iron Man (which earned him a Grammy nomination), and the thriller/horror genre limits his opportunities basically to tracking suspense and scary climaxes. His cadential opening theme has a stately grace, but before long he is delving into the Pro Tools trick bag for echoing metallic effects and sudden percussive blasts that sound like somebody sampled heavy machinery being dropped down a flight of stairs. The sonic demands of a film like this have more to do with sound effects, often very loud ones, than with anything easily recognizable as music. Djawadi has done his job here, but the results are not much to be appreciated outside of the movie theater.
AllMusic Review by William Ruhlmann
|The Unborn, film score|