In construct, the music is emotional at its base and grandiose in stylistic intent. Both the heroic elements of the past and the parody moments of the present are scored with the same over-the-top sense of adventure, likely meant to heighten the comedic parts of the modern day scenes. Even though Powell is clearly listed as seemingly the only composer, a substantial portion of Just Visiting was written by Glennie-Smith, and it is his contribution to the score that often introduces the needed orchestral performances of their compositional ideas. Two other Media Ventures assistants contribute as well. The augmentation with synthesizers is unfortunately present the most when the score needs that tone the least, in the opening sequences of centuries ago. These scenes in England are handled primarily with synthesizers, with token harpsichord and solo woodwind mixes to add a shallow element of locale to the music. The end result of these few cues at the start of the film is a sound that is distractingly corny, which may be appropriate given the ridiculous plot to follow. Once in modern Chicago, the composers' talents with the synthesizers and guitars are better utilized. The rhythmically grooving "Tub for Two" is the sole standout comedy cue in the score, and its silliness is actually a highlight of the album. This track may be more reflective of the film's sense of humor, and yet it is surrounded by many somber cues of extended minor key motifs. Several dramatically conceived cues in the score present a sound that will appeal to fans of Zimmer's more melodramatic, neo-classical works. The choral elements alternate between the synthesized variety and the real thing (recorded in London). The latter group's contribution is infrequent and the synthesized one is, after five years of the same samples at the time, tired and overused. Parts of Glennie-Smith's material has the same aural texture as his work for The Man in the Iron Mask in 1998, a score which itself was already sounding derivative.

Ironically, it is when Powell and Glennie-Smith transfer the spirit of the score into the realm of pop rhythms that Just Visiting begins to stir some interest. The love theme, introduced appropriately in the past during a short, but lovely acoustic guitar performance in "Rosaline and Thibault," matures into its modern variant in "On the Bridge," where Powell combines the underlying classical string progression with a modern rhythm that leads to a satisfying combination of genres for the score. It's a simplistic realization of what Patrick Doyle provided with more power for Great Expectations; in Just Visiting, the same style is lacking in romantic bite in key parts because of the weak depth of the recording. Chicken Run, by comparison, featured stunning sound quality and an incredible blend of orchestral and synthesized elements into one remarkable package. The music for Just Visiting doesn't sound as crisp, often existing seemingly behind a wall, muting the performance to an extent. Glennie-Smith's cues tend to have better ambience than Powell's, for reasons that are difficult to pinpoint but likely can be attributed to the balance of the mix. The lack of much reverberation added to that mix causes the major themes to lose appeal. The love theme discussed earlier reappears in less interesting forms in "Not a Bunny" and "Julia Sees the Castle." The title theme, provided a glorious performance in "The Hag's Hut" (though with a notable brass flub at 2:14), is revisited frequently throughout the score. While this theme doesn't offer much in terms of enthusiasm, it is the one aspect that ties this score together into a cohesive whole. The most obvious detriments in Just Visiting are those cues that rely so heavily on sparse synthetics in stereotypical Media Ventures staccato rhythms that they sound like a demo recording, including the "The Big Chase," a badly underpowered cue. The song at the end of the album has a dance mix that, for some reason, seems oddly appropriate as a title theme for a 1980's cartoon and is a poor match for the remainder of the material on the product. On the whole, Just Visiting is a marginally enjoyable score that had promise in its conception, but deserved better arrangements at almost every turn.  ***   @Amazon.com: CD or Download