Ninja Assassin

Ilan Eshkeri has been an exciting new-comer to watch these past few years. He has been composing for American films since 2001 but has been essentially under the radar until 2007's Stardust exploded on the scene.
He comes across as classically influenced, or at least enjoys incorporating great classical pieces into his movie scores. Young Victoria, Hannibal Rising, and the aforementioned have helped him lay some strong ground in the film music community.
Much to this reviewer's initial chagrin, Ninja Assassin is a complete 360 from what we have become accustomed to expect from this composer.
It feels strongly as if Ilan Eshkeri just wanted to stay within 'the box' and let action scores of the past 10 years dictate and/or inspire the way he would approach this project.
Mr. Eshkeri starts things off with a nod to spaghetti westerns (Ennio Morricone, specifically), complete with electric guitar motif backed by male chorus, then proceeds to borrow the feel and orchestration of multiple Hans Zimmer and John Powell film scores. In the quieter moments featuring cello and string section, I was reminded of the Last Samurai, but at an inferior level. In the bounding, outright action moments a plethora of Remote Control scores, and even Alan Silvestri's action music, as of late, are heralded with little variation. In summary, if you come expecting anything substantially original, you will be fairly disappointed, but if you simply desire a new action score of the 'kick-butt entertainment' variety, then this just may be for you.
Ilan Eshkeri's usual love themes, and swash-buckling moments are nearly completely absent. Though full orchestra is integrated and occasionally brought to the forefront, a majority of the highlights feature brief, yet lovely cello solos, intense and complex electric rock guitar writing, dark string textures, multi-faceted percussion, and interestingly placed electronic beats.

Track by track analysis:

1. Ninja Assassin: This cue begins with an electric guitar and male choir (a la Kill Bill), but sadly this cue doesn't do much with its 6 minute run time after the initial motif is established.
2. Training: Fun electric guitar and orchestra hits set up as driving momentum that is taken over by drums and clanking percussion of every sort. It then segues into some thoughtful cello, before ending with a building action feel.1/2
3. Kiriko Runs: This cue is tragic, passionate and does a lot to highlight the string section with little interruption. 1/2
4. Mika's Apartment: The first few moments of this track are filled with suspense and action which will attack your senses, replete with huge electric rock guitar and orchestra hits, probably not to everyone's taste.
5. First Kill: Electric guitar builds with an intense beat and a string section producing eerie sliding tones. True vigor and suspense is conjured, but with an unsatisfying conclusion.
6. Skyscraper Rain: The last minute of this track earns it an extra half a star. Electric guitar, strings, and a driving percussion section make things extremely entertaining for the listener. It has all the attributes of a gothic rock opera, without the vocalists.1/2
7. Escape From Safehouse: A rock-star, mythical beginning starts this supremely intense cue with electric guitar, intensely racing strings, and effortless electronics keeping it all together. It sounds as though Hans Zimmer and Alan Silvestri got together to formulate this breathless piece; a truly exciting and impressive cue that may be a bit too noisy for some tastes near the end. I only wish the entire album was this engaging! 1/2
8. Healing: A good track - of which I like to say 'tells a story'. There's building tension, moments of tranquility, and racing strings with a smooth beat to follow.1/2
9. Soldiers Attack: An in-your-face track that may startle at the beginning, but from then on, 'hang on to your seat', you are in for a cacophonic ride. 1/2
10. Raizo vs Ozuno/Freedom: It begins as a powerfully urgent action track that is simply over-the-top, if not just a bit too noisy. The music then subsides to a more thoughtful passage, recapping some of the softer moments of the score before concluding with the spaghetti western-like electric guitar motif from the beginning of the score. 1/2

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