Hans Zimmer's credit may headline The Whole Wide World, but in truth the score was written by up-and-coming composer Harry Gregson-Williams, who later proclaimed "Hans didn't write any music for [this movie]. In fact, he heard my score for the first time at the premiere." Zimmer's fingerprints are nevertheless smeared all over The Whole Wide World -- bass-heavy synthesizers and bombastic arrangements are just two of his signature moves borrowed wholesale by Gregson-Williams, who also dabbles in a series of melodic contexts spanning from lush romance to epic action to Latin-inspired dance (the idiosyncratic "Sombrero"). Gregson-Williams is nevertheless too much of a novice to command any of these disparate genres with authority, and the result is a score undermined by its disjointed, often haphazard approach.
AllMusic Review by Jason Ankeny