One criticism of this score is that it sounded like Gladiator, and this would be due to parts of her vocals, which do resemble the final scenes of Gladiator. It begins with the electric violin, followed by a restatement of the piano theme and the first presence of Lisa Gerrard's vocals. The final cue, 'The End', coming in at just under ten minutes, is a wonderful finale for the film.

A third of the album's 29 track length is in the last 3 tracks. There are some interesting parts of this score, but it would be no more than typical thriller score if it were not for the last few tracks. The electronics seem to be used to reflect both Creasy's anger and pain. This occurs again at a similar scene in 'Sanchez Family'. In 'Motorcade', there is a quiet build up with the guitar and electric violin, which creates a very foreboding feeling before the electronics take over at a point in the film where Creasy is at his most remorseless. Both Spy Game and Man on Fire have electronic elements, but while the former was very rhythmic, elements of Gregson-Williams' latest effort are chaotic explosions of electronic beats - and it's great! The first is in the last 30 seconds of 'Kidnapping'. Man on Fire is a tale of revenge, and the score shows this very well at times. The highlight of the first part is the gorgeous orchestral cue 'You Are Her Father' which is also the only presence of any brass in the music and can be heard behind the strings. The movie is almost two separate stories, one of Creasy and Pita's bonding and the other a tale of Creasy's revenge, and this is reflected on the album as well. The piano is also heard a few other times with quiet solos, once in 'The Rooftop' playing a brief statement of one of the Spy Game themes a little over halfway through the track. The theme reflects Pita's innocence and sounds a bit like Joe Hisaishi's theme from Princess Mononoke. There is also a piano theme (like Spy Game) which is Pita's theme, heard best in 'Smiling' and then on the acoustic guitar in 'Pita's Room'. Gregson-Williams uses his trademark electronics and string suspensions throughout. The music in Man on Fire is almost like a continuation of the Spy Game score in terms of style. There are also two points in the score (the end of the 'Main Title' and 'Gonzalez') that feature some rock-beat vocals that seem out of place, but they generally work with the style of the movie. The film also features some non-score songs, quite a few by Nine Inch Nails and Linda Ronstadt. The music then surges into a electronic remix of a salsa beat (homage to Marc Anthony's role in the film?), which is something I've never heard before and it accompanies Tony Scott's spasmodic opening credits nicely. This instrumentation has been used widely since Hans Zimmer's Black Hawk Down, and Gregson-Williams uses it widely throughout this score. The album (currently available on iTunes and supposedly to be released on CD by Varese Sarabande on June 8 although all mention of the album has vanished from their website) opens with the chilling sound of an electric violin performed by Hugh Marsh. Gregson-Williams pulls together some Media Ventures favorites such as vocalist Lisa Gerrard ( Gladiator) and guitarist Heitor Pereira, but throws in some new sounds as well.

While stylistically similar to Spy Game, the score to Man on Fire lacks the thematic subtlety, but makes up for it in ethnic consistency. well, Spy Game, and the music compliments the film extremely well. This film is one of the best action/thrillers since. Gregson-Williams' latest score reunites him with Tony Scott's portrayal of Americans in foreign places, this time Mexico City in Man on Fire. Each score he has done has been a new style in a new genre: from the ambient electronics of Phone Booth to the percussive action of The Rundown, the swashbuckling powerhouse of Sinbad: Legend of the Seven Seas to the celtic-inspired drama of Veronica Guerin and more. Spy Game helped re-establish Gregson-Williams as a big name in film music and he has only gotten better since.

Not only did Spy Game show his adeptness at blending electronics with orchestral elements, but it also exhibited a variety of ethnic music as the film involved numerous locations. With his 2001 score to Tony Scott's Spy Game, Harry Gregson-Williams proved he could work very well on his own.

Songs in the movie spy