Scott D. Paulin
June 28, 2002 AT 12:00 PM EDT

Williams’ latest for Spielberg serves the movie’s hybrid of sci-fi and noir, often in a way that’s mildly reminiscent of Bernard Herrmann’s music for Hitchcock: The creepy tone clusters hover dissonantly, and the rhythms scurry hither and thither. It’s all crafted according to venerable film tradition, and yet it seems repetitive; worse, it lacks any cumulative punch. However effective this might be in a cinema, it’s underwhelming as independent listening.

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