If you value continuity in your franchises, a concept that was tested significantly with the release of the rebooted Star Trek a week after this film, then know that the few nuggets of familiarity built into the script of X-Men Origins: Wolverine don't translate into its score. This music is once again a clear attempt to merge the gothic elements of a broadly rendered orchestra and adult chorus with the harsh, industrial side of contemporary coolness and technology. Better than most, Gregson-Williams manages a decent balance of these elements in his work. There are two-minute sequences that are impressive in their ability to lay a harmonic choral performance over pleasant synthetic loops. At the same time, the score does predictably degenerate into nonsensical ramblings of the latter element, often taking its slashing metallic side to intolerable levels of scratchy noise. Sometimes in the orchestra alone and occasionally buried in the mass of ticking, thumbing, and groaning sounds from Enemy of the State are a pair of relatively appealing themes. The first is, not surprisingly, for Wolverine. Its muscular brass statement in the opening summary of Logan and his half-brother's lives is better than expected, staying loyal to the character through the final cue of defiance after his memory has been lost. More interesting, as you might imagine, is the romantic subtheme for Logan's love interest, developed extensively in "Kayla." Although somewhat cold in its distant renderings, a nice touch of warmth is offered by a piano in that cue. The composer's insertion of a dying rendition of the idea at the end of "Memories Lost" is likewise compelling. Otherwise, the application of themes is typically overwhelmed by distant cries of electric guitars and the standard string ostinato effects that both Zimmer and Powell have popularized in the 2000's. Often times, as in the performance of the title theme by full ensemble in the waning moments of "Special Priviledges," the more interesting and cohesive explorations of the best ideas in X-Men Origins: Wolverine are unfortunately abbreviated. The most irritating modern effect of them all is included at times as well; the artificial, sudden stops or accentuated backwards edits of a single note are particularly irritating and, at this point, aged beyond their usefulness as a shock tool. Overall, Gregson-Williams' score is the kind of formulaic application of music to a substandard superhero action film that will most likely be dismissed by those outside of his loyal collecting group. That's a fair response, though this score is better than many to grace similarly underachieving films of the era. Approach with low expectations and you might be rewarded.  ***   @Amazon.com: CD or Download