Alexandre Desplat’s Godzilla soundtrack got a warm reception from viewers and music critics. Although the press releases raised my expectations, this score feels uninspired. For those seeking strong themes, Godzilla ignores tradition in favour of dark atonality.

[Note: Some track titles may contain spoilers.]

Quite simply, Desplat’s work lacks the tongue-in-cheek quality of his predecessors. In particular, Japanese composer Akira Ifukube created a signature sound for the 1954 movie Gojira, while the opening bars of “Godzilla” resemble a hive of grating, over-extended dissonance. In the history of monster themes, this one proves rather anonymous, sinking before it’s allowed to take flight. More droning persists as “Inside the Mines” and “Missing Spore” chart ever so slight variations on the central sound design.

For “The Power Plant,” some intense percussion rises in volume to no discernible purpose. Meanwhile, hints of early John Carpenter films (namely The Thing) can be heard in the unimaginative “To Q Zone.” From beginning to end, this track relies on dunderheaded acoustics which pound and grind without incident.

The first 60 seconds of “Back to Janjira” provides some relief from these aggressive early tremors. However, “Muto Hatch” echoes the synthetic style of Harry Gregson-Williams. Above all, Déjà Vu takes precedence as Desplat loses the dramatic thread.

Thematically, “The Wave” does little to alter the pacing or tone. Finally, Godzilla whispers rather than roars as he saunters “Back to the Ocean.” For a soundtrack about the most iconic movie lizard, Desplat fails to acknowledge the creature’s gigantic appeal. In fact, his music could accompany a nest of vipers.

As monster music, Godzilla seems oddly self-indulgent, while lacking the creativity of Alex North’s Dragonslayer and John Debney’s Komodo.

What Might Have Been

In accordance with the one-star rating, I have taken it upon myself to imagine a scenario where another composer could make a better job of Godzilla. Given his exceptional track record, I believe Frederik Wiedmann -- with his exceptional grasp of thematic identity -- would be equal to the task. For those unfamiliar with his filmography, I highly recommend Green Lantern: The Animated Series and Field of Lost Shoes.