by Alexborn007 on 9/2/2003
favorite track: 2
 
Utilizing an array of different percussion and electronic effects, Silvestri also employs a full orchestra for the music of Predator. This creates some truly pounding and forceful action cues which do not let up in their power or sometimes overbearing style. One of the more recognizable qualities about the score is the militaristic main theme. But! This release does not start out with the "Main Titles." In a gesture of true generosity, we are given the Twentieth Century Fox Fanfare by Alfred Newman, arranged by Elliot Goldenthal. This arrangement from 1992 was used in conjunction with Alien3. Personally, I think it works wonders here. It's the usual fanfare, until towards the end, everything sort of "melts" into a very dissonant and screeching close. Its a perfect segue way into the now famous Predator main titles.

The Predator theme is well remembered. It's heavy, and quite militaristic. In terms of quality, it's a competent piece and never loses sight of itself. The relentless pace and attention-grabbing synths just are a complete blast to listen to. However, I think Silvestri could have done better. This was two years after Back to the Future, so there is a similar sound to this one with his arrangements and playing styles. This is not a good thing considering the differences in tone for each respective film. I enjoy the score immensely, but the theme he uses just doesn't seem to be that of an invisible alien hunter. Something more spacey and perhaps emphasizing evil would have worked. That, or a less pinched orchestration could have sufficed. However, you could argue this theme is more for the commandos and the Predator is somewhere in the middle thematically (although the theme is reprised in the sequel). This is more where I go as the soldier's arrival in the beginning is perfectly complimented by the theme. Now, on to the rest of the score.

The first few cues are atmospheric and all sort of lead up to the first kill by the Predator. "Payback Time" is a catchy cue that prepares the men for a raid on a guerilla camp. "Jungle Trek" gets to use the commando/Predator theme a bit towards the end. But, it all culminates on the eigth track "The Girl's Escape." Signifying the first kill of the Predator, the one minute mark begins a sequence of PURE fun and action scoring greatness. The action just moves along seamlessly and works quite well. After the body is gone and the commandos search for it, Blain (Jesse Ventura) is killed. The best action piece on the score takes place for this sequence. "Blain's Death" is chaos. First, the psychotic breakdown of Mac as he sees the Predator (relentless percussion and brass here) and the men as they lay waste to an entire section of forest. Then, the revelation afterwards that they hit nothing has a more evil and slow pace. "He's My Friend" uses a very militaristic solo trumpet as Mac says goodbye to his friend Blain.

After this, the score kind of degenerates. The following cues are mostly "build-ups" and just work in the film. The remaining men set a trap and wait for the Predator (and the accompanying cue gives hope for what's to come). After a failed attempt to stop it, things kick back into high gear and almost return to the style of the first half. The main stand out cue of the second half is "Battle Preperations." Going hand in hand with the two warriors preparing for a final showdown, a very suspenseful build up follows to a HUGE finish as Dutch (Schwarzenegger) lets the Predator know it's time. A very effective cue in the movie, it loses somehting here, but it is still very good.

The battle between the two is more of the suspense and action material presented above. All good mind you, just rehashed and tweaked a bit. A favorite moment of mine is the lead-in to the mask of the alien being removed. The "End Credits," essentially just a reprise of the main theme after the use of the solo tr