Perhaps the best thing in this film is James Newton Howard's score, and I'm sure that sounds pretty harsh, but really, Howard sets no low bar here with his surprisingly highly inspired musical efforts, infusing an intensely subtle minimalism into stylish, often unconventional and perhaps consistently realized compositions, whose very atmospheric flavor is both nifty on a musical level and worthy as a storytelling compliment. The film's soundtrack is certainly more worthy of flavoring up this story's engagement value than plenty of areas in storytelling itself, and it's shame that that's the case, but at least there is something going to doing justice to a premise of limited potential. Later on, I'll be touching more upon just how thin and silly this film's premise is, but right now, I'm going to get into the meat here, because this is, in fact, a promising story, at least in some ways, boasting a questionable and even conventional premise, but still offering some intriguing dramatic and thematic weight behind a conflict that is still pretty refreshing in a lot of ways.
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