A semitone descent open this new and spectacular score from Alan Silvestri, author for whom, I should recognized, I feel a special weakness. Master on the art of create tense, vibrant works, with an usual and terrific game between brass and percussion -although he is also author of nice and fun scores, like Soapdish (1991)-, Silvestri does not fail on his re-encounter with Schwarzenegger after the impressive music for Predator (1987). Two brief themes, heared for the first time on the second cue She's In on the strings and winds, serve as the power for the violent outburst of the orchestra, with sudden changes of key modulations and that so peculiar marked rhythms of his author, this time with electric guitars included which add a plaintive tone on certain passages. Unavoidably, part of the score shows its incidental tone going with the deeds of its violent main character. It doesn't matter; the extreme ability of his author on the handling of these themes allow him to stablish a feeling of unity along the work, and through this, cues like Kruger Escapes doesn't restrict themselves to be the usual series of chords and orchestral explosions without sense that may be found on much scores nowadays. M.A.F.

/ ATLANTIC 82957-2 / 43'