A listener has to get the distinct impression from Firewall that Desplat rushed through this project with necessary haste and thus did not have time to truly explore any meaningful ideas in its contents. The result of the score is an appeal that suffices for the picture but suffers from clear restraints when appreciated out of context. You encounter several purely Desplat sequences in Firewall that beg for expanded treatment, often reprising glimpses of his highlights from Hostage. Skittish string techniques and challenging brass tones are reminiscent of Elliot Goldenthal's career, and plenty of struck percussion is once again impressive in usual Desplat fashion. His knack for maintaining forward movement through several interweaving lines of orchestral action is as commendable here as always. But, invariably, the score's overall tone gravitates back towards the realm of the generic, reflecting many of James Newton Howard's less inspired works of a similar personality. Also a detriment to Firewall is its lackluster themes, the direct opposite of Hostage. Only one truly prominent idea is expressed in the score, and it represents the wholesome relationship between the lead character and his family. Introduced subtly at the end of "Firewall," the idea is summarized neatly in "The Family Theme" before weaving in and out of several later cues. The pair of "Rainy Day" and "Together Again" turns the idea from morbid melodrama to saccharine redemption, the score's most accessible portion. Unfortunately, this idea, most obviously during its horn solos, seems ripped almost completely from the library of James Horner's early 1990's equivalents. In fact, it's hard not to think of The Pelican Brief and other similar piano-aided suspense scores when hearing parts of Firewall. The only other recurring motif of interest is a burst of action that occupies "Firewall" and is reprised in "The Camera Dances" and "Looking for Help." On album, the Desplat score faces far more challenges than Hostage, foremost a relative lack of rhythmically tonal passages of force. The bold counterpoint lines of the previous work are lacking, replaced by an increased role for electronics. Desplat's use of electronic pulses and loops has never been very appealing, and that detriment is a significant factor here. In a film with so much technical jargon and computer wizardry, a score with more Jerry Goldsmith-style tingling effects may have been advisable. In sum, there is easily enough material in Firewall to attract the composer's devoted collectors, and for a last-minute effort, you can't fault Desplat much for this product, but to hear the composer tackle this genre with more of his trademark intelligence, seek Hostage instead.  ***   @Amazon.com: CD or Download