And then, in 1999, Chill Factor was Zimmer's sole assignment, and it would take Gladiator the following year for fans to forget the highly unfortunate previous year that the composer had experienced. As per usual, Zimmer delegated some of the scoring duties for Chill Factor to two of his regular collaborators, John Powell and Jeff Rona (perhaps he actually viewed a late cut of the film and realized how laughable its premise and presentation really were). As a piece of music, Chill Factor isn't much more intelligent than the film it accompanies. If you've ever heard one of those dozens of Media Ventures sampler CDs, usually divided up by genre of music, then you've likely heard material far better and presented with stronger consistency than the compilation of unrelated ideas for Chill Factor. This score really is nothing more than a collection of 25 or so Media Ventures sampler cues, and despite the basic development of two themes for the film (one for the two heroes and the other for the nutcase who created the bomb), there is a distinct feeling that all of this material had been heard before. Most of the action underscore is a variation of rambling keyboards and choppy string samples that fans of the composer had grown accustomed to. The action music is not even close to being as finely tuned as in, for instance, The Peacemaker, nor do the actions cues last for lengthy enough periods of time to establish an exciting mood for the music (a probable result of the film's pace and rapid scene changes). The music even fails to pump up the listener in its chaos, as The Rock did for some listeners. The theme for the two heroes is hinted at in some of the action material, but comes to life in the one outstanding cue in all of Chill Factor. The soft, acoustic guitar performance of this theme (perhaps a John Powell contribution?) occupies one of the score's lengthier cues, and despite its painfully obvious rip-off of the Toys theme of the same emotional direction, it is one of those great "easy-listening" Media Ventures moments.

The other evident theme is the one for the villain of the picture, and this series of rhythms and motifs is somewhat amusing in its almost Spy Kids-like reliance on techno-gadget sounds. It is a more forceful representation of the hard percussion and guitars you would expect, but it has a strangely distorted series of keyboarded measures and female vocals (real or programmed, it's hard to tell). These effects seem to represent the wailing of sirens or air horns as they pass on the road, which may be a nice, somewhat unique touch, but they're extremely difficult to tolerate on their own. Adding insult to injury, this wailing effect, as well as the progressions of the villain's theme, are seemingly pulled from Mark Mancina's score for Speed. Overall, the music for Chill Factor is further hindered by its 30-second cue construction. The film was enough of a failure to obstruct the possibility of a commercial song or score album. But, as usual, Media Ventures let the complete score filter out for fans in bootleg form (did these guys even care anymore about security on their works?), and the presentation is nearly impossible to enjoy (outside of that one soft guitar theme that remains intact) because of its succession of ultra-short cues. It also exposes several repeat uses of the same or nearly identical music for multiple scenes. The original 42-minute bootleg with 28 untitled tracks is deceptive, because many of the cues are simply reprises of other tracks on the album, and others are slight remixes that don't vary enough to consider them worthy of repeat listens. Subsequent bootlegs condensed the music down to two cues: the end credits as heard on the DVD and a suite formed out of the 26 remaining, short cues (the end credits had been repeated for some reason on the previous bootleg). The shorter, two-track bootleg is only 22 minutes in length, but it's a far better listening experience on album. Whoever combined the short cues into the 17:30 minute suite did a good enough job to make the album listenable on a basic level. There is, however, some slight upper range distortion on many of the bootlegs' presentation of the end credits, probably due to excessive gain levels somewhere along the transfer line. The only reason Zimmer fans, or anyone else for that matter, should invest in these bootlegs is for the 3-minute Toys-like guitar theme. Otherwise, it's nothing more than a bland Media Ventures sampler.  **   @Amazon.com: CD or Download