If The Matrix proved little else, it illustrated the growth in ability from composer Don Davis. Full disclosure: he's not one of my all-time favourites. Then again, neither is Howard Shore. Yet between The Matrix Reloaded and The Matrix Revolutions, Davis developed a style that reflects numerous "you're in trouble" set-pieces. 

There's a remarkable flow to The Matrix Revolutions, enhanced by quiet stretches leading to peril or insight. As such, the brass section (including choirs) are allowed some stage space. The timing on "Trinity Definitely" could not be better as it releases much pent-up aggression. Such sensitivity reminds us what's at stake. After all, catastrophe only reigns hard when there are precisely sketched human beings at ground zero.

Moving on, Davis goes absolutely insane on the tempo. Listen to "Die Brunett Walkure/Mjolnir Mastication/Charra Broiled" all by its lonesome. Meanwhile, land stand blues are left to strings both ethereal and hyperactive. Above all, apocalyptic timbres define this struggle between hope and despair.

Unlike James Horner's Aliens, The Matrix Revolutions tends to bury emotion under all the weightlifting. For that, I only give the latter three stars. (Capsule review.)