Composed By: E.C. Woodley
Distributed by: Lakeshore Records
Reviewed by Melissa Minners
In the horror film Antiviral, Syd March (Caleb Landry Jones), an employee of the Lucas Clinic. In a celebrity-obsessed society, viruses and pathogens that come from celebrities are valuable commodities and the Lucas Clinic makes its money collecting and distributing these viruses and pathogens to the public. Syd also makes some side money, smuggling samples of these pathogens in his own system to distribute on the black market. Unfortunately, Syd becomes infected with a particularly nasty…and deadly…contagion affecting celebrity sensation Hannah Geist (Sarah Gadon). Now it’s a race against time to find a cure while being hunted down by those who are rabid for his infected blood.
The musical score of Antiviral was created by E.C. Woodley. Having been introduced to music early in life by his folk-singer father Ray Woodley, his violinist great-uncle Harold Sumberg and his grandmother, a rehearsal pianist for the National Ballet, it was no surprise that E.C. Woodley would find a career centered in the musical field. Woodley became interested in film scoring as a teenager and eventually learned much of the craft from veteran movie score composers and a rock and roll arranger. He eventually got his start composing music for short films and documentaries. Antiviral represents E.C. Woodley’s first full length feature film score.
The Antiviral Soundtrack is extremely dark, featuring music in low registry interrupted by some interesting piano pieces. The dark score is in keeping with the movie’s dark subject matter. Electronic sounds, ambient noises and bass guitar are used to represent the technological aspects of the film.
While I believe that E.C. Woodley was able to capture the general feel of the film with his musical composition, I didn’t find anything especially intriguing about the Antiviral Soundtrack. Nothing, at least, that would make me want to shell out upwards of $10.00US for an mp3 version of the album or $20.00 for the CD version. This is one of those scores best left as an accompaniment of the film, but not as a standalone album.