This score confirms the theory that the career of Burwell follows a not very stable line that is debated among compositions of great quality, as the late Gods And Monsters (1998) and The Hi-Lo Country (1998), and other certainly mediocre as The Jackal (1996) or this one, which although in the first auditions it can be something interesting and maybe original, an ulterior listening reveal a not very consistent work that offers anything except for the disturbing sound of the violoncello in the main theme. The Corruptor is the result of a collaboration that has afforded small surprises, as Fear (1996) and The Chamber (1996), a parasite relationship with the present work, sad moral of what happens when a good musician, even young and with personality sold himself to the market of the American mammoth production, although in this case it is to his friend's service, James Foley. Burwell takes refuge in the breast of the most ambitious technicity creating a score for synthesizers and a small group of acoustic instruments -without exempting the more and more strong erhu, the ethnic policeman's voice Nick Chen (Chow-Yun Fat)- that are the main characters of the score, again loaded with Revell shades, with rhythms pre-created electronically and resolved in the most foregone and conventional way. The Corruptor is, in definitive, an aseptic and, many times, impersonal product. D.R.C.

/ VARESE SARABANDE VSD-6014 / 43'

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