Editorial Reviews

If Hitman sounds like a generic title for a movie to begin with, especially considering that the hired killer is a well-established film archetype (it seems reasonable to assume that there have been many more professional assassins in the cinema than there ever were in real life), then it only adds to the schematic impression of such a work to note that it is based on a video game. The particular hitman in question doesn't even have a name; he's known as Number 47. So, perhaps one shouldn't complain that there is little that sounds new or different about Geoff Zanelli's score. Zanelli is one of several protégés of Hans Zimmer, who runs a virtual school for soundtrack composers, using them to help complete his many assignments. Lately, Zanelli has branched out on his own, his previous scores including Disturbia and the TV movie Into the West, which won him an Emmy. For Hitman, he employs a familiar combination of acoustic sounds provided by an orchestra and chorus and electronic percussion elements out of synthesizers and computers. Except for the beginning and ending, which are different versions of "Ava Maria," the cues always have an underlying electronic pulse, and at times the music becomes full-blown electronica. It's music to keep viewers on their edge of their seats, which is the right approach for this sort of film. Like Zimmer, Zanelli now has his own assistants. Ryeland Allison and Bobby Tahouri earn credits in the CD booklet for "additional music," but it isn't clear exactly what they contributed. At least they are mentioned, however. William Ruhlmann, All Music Guide

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