For the 2009 3D retelling of Final Destination, the production turned to the capable Brian Tyler to further explore new stylistic territory while making substantial use of the structures and tone of Walker's music. Such assignments have become all too common in Tyler's career in the late 2000's. From Rambo and Aliens vs. Predator: Requiem to Fast & Furious and The Final Destination, Tyler has spent more than his fair share of time establishing and re-establishing the sounds of franchises past their expiration date. His ability to approach these scores intelligently and provide adequate if not strikingly overachieving recordings is testimony to his immense talents. His extension of Walker's sound in Final Destination is keenly astute, proving again that he is a man who does his homework. But for films like this, does such an effort really matter? Why bother? In this case, there is one compelling reason, and it relates to an affection for Walker's contribution to the industry. In essence, what Tyler has provided for The Final Destination is something of a tribute to Walker, going so far as to revisit several of her constructs in a lengthy suite recorded just for the album. Her descending main theme on low strings is the centerpiece of Tyler's score, mutated into even an explosive hard rock variant in the opening piece. In Final Destination 2, Walker started taking the theme in hip electronic directions, and Tyler does the same with the aid of slight electronic rhythmic devices that expand the scope of the otherwise mostly orchestral recording. Tyler references this theme frequently, though less utilized is the counterpoint that Walker sometimes placed over the top of it. Perhaps more memorable from Walker's score was an intensity from the percussion section, with pounding drums and slapping treble effects often punctuating the death scenes with a fierce tone. Tyler, always seemingly enthusiastic to let rip with varied arrays of drums, follows this template as well. On top of that, Walker often used whining, scratchy strings as a tool for dissonance with which to represent the suspense of the premonitions, and Tyler once again reprises that technique (producing the same effect as in his Timeline score). Some of the motifs are different here; instead of Walker's three-note death theme (from key down a note and back up to key), Tyler employs a more standard minor third alternation for the same purpose.

Outside of the few cues in which Tyler takes the score in a more contemporary direction (highlighted by the opening piece but extending into soft pop variants in cues of solace or pondering), it's difficult to distinguish a distinctive new personality from Tyler specifically for this film. The Walker material is so recognizable that perhaps Tyler was at a disadvantage in these regards, and the score functions well enough without a fiery new, memorable motif. This is, after all, a remake. As per usual, Tyler does provide a few genuinely ass-kicking action cues that merit some attention for his enthusiasts in the film music collecting community. The suite at the end of the product is a fantastic summary of the franchise that starts to go beyond Walker's otherwise dominant material (it would have been nice to hear the plaintive, solo trumpet counterpoint from the "Main Title" of Final Destination reprised at the end of this suite, though). But the highlight of the applied music in The Final Destination is "The Movie Theater," which, despite some slightly obnoxious synthetic effects in its ranks, is about as ballsy an orchestral ruckus as you will hear. Some will hear too much of the industrial, staccato pounding familiar to Hans Zimmer's clones in this piece, but in this recording, as well as the rest of the score, Tyler maintains enough organic layers to keep the environment from becoming synthetically stale. In some cues, hearing Tyler's take on the franchise's music is equivalent to hearing David Arnold's take on the vintage James Bond style. Some listeners will best appreciate Tyler's more contemplative side, which explores some seemingly unique thematic material of sensitivity that can be heard in "Memorial," "George is Next," and other light, typically keyboarded respites from the shrieking, bombastic horror. Ultimately, the score for 2009's The Final Destination is a nice tribute to Shirley Walker and her life and career cut so very short. None of her three scores for this franchise were released, and there will undoubtedly be some collectors who wish that those works had been pressed onto a retail CD instead of this entry. But in the absence of such treatment, Tyler's recording is an adequate replacement, competently handling the subject while very carefully maintaining Walker's material for a brief resurrection. But the heights possible with this assignment were inherently limited, and while time is on his side, Tyler does need to carry his talents into a higher level of industry intellect. His knowledge base and capabilities are too valuable to spend his career toiling with the embarrassing likes of The Final Destination.  ***   @Amazon.com: CD or Download