From <I>Brazil</I> (1985) and <I>Highlander</I> (1986) to <I>Frequency</I> (2000), composer Michael Kamen has proved no stranger to the darker side of fantasy. His <I>X-Men</I> score is, like the film itself, stylistically far removed from previous superhero adventures, the closest precedent being perhaps Danny Elfman's <I>Batman Returns</I> (1992). This is night-shadowed music, "Death Camp" opening with a clear pianistic echo of John Ottman's score for director Bryan Singer's debut feature, <I>The Usual Suspects</I> (1995), rising to a peak of coruscating fury and setting the scene for an implacable fusion of post-Wagnerian drama, hard-edged atonality and unsettling electronics. Early cues mix sombre suspense writing with romantic glitter, later titles such as "Museum Fight" add a tormented violin voice to the restless string orchestra rhythms and biting brass. All hell breaks loose in "The Statue of Liberty" before the more emotionally centred "Final Showdown" leads to the uncertain romance of "Logan and Rogue". Kamen has crafted an exceptionally bleak score for a film designed as a mainstream summer blockbuster and his music certainly won't appeal to every taste. However, those who appreciate either imaginatively constructed, melodic horror-film music or the scores for particularly dark thrillers will find much to accompany happy nightmares. --<I>Gary S Dalkin</I> from Amazon
