Manhunter had a pretty obnoxious, 80's synth score by Michael Rubini which undercut much of the drama and tension the film tried so carefully to create. Silence of the Lambs got a smart and creepy Howard Shore score and while the album for Hannibal was something of a disappointment, Hans Zimmer's music worked well in context. Choosing Danny Elfman for Red Dragon does seem sensible with perhaps the only worry that he'll overplay his hand a little. Shore has much more self control, but Elfman acquits himself more than adequately, even if the album isn't exactly enjoyable. Perhaps the most disappointing aspect is that the music seems to sound exactly as I had imagined it, churning strings, occasionally bursts of melodramatic brass, a little clanking percussion and some ticking piano motifs.
Shore and Elfman often seem like two sides of the same coin, but Elfman has a bit of the mischievous black comedian to Shore's more straight laced approach. For all that, many elements of Red Dragon do seem like Elfman versions of Shore's music, even if the string glissandos, spooky choir and other elements are included with more delicacy. For those who bemoaned Spider-Man because they couldn't hear the theme will probably find Red Dragon quite distressing for the thematic material isn't exactly obvious. There are little ticking motifs that provide a decent level of uniformity which, again, echo Shore's music.
While I'm loathed to put this down as Elfman on autopilot, there feels like a certain lack of inspiration from time to time. In fairness, this kind of thriller for which it is difficult to compose an album friendly score. While it seems like the kind of film that should suit Elfman well, I can't help but feel that it needs to allow for either a little more theatre and grand gesture - Sleepy Hollow is essentially a murder mystery, but the style allows for a wildly operatic score - or is quirky and introspective, such as A Simple Plan. Undoubtedly perfect for the film, the album gives the feeling of requiring a couple of edits as one cue of long string notes and quietly clanking percussion runs into the next. The dynamic action sequences, particularly in the final few tracks are a definite highlight, but an hour of brooding intensity can be a little difficult to, erm... stomach.
Rating ~ 
Total Time ~ 57:15