Deborah Lurie contributes her elegant voice to "Leaving The City (Main Title)" which gives the track a really eerie feel. Ottman constructs the main theme almost like a lullaby. The orchestra plays slowly with gentle ease, which is a nice environment so that when the score later changes to terror, you really feel the contrast. "Exploring" could very well describe Ottman’s approach to the second track. Ottman probes the music space using The Hollywood Studio Symphony like the eye and ears of a forensic detective.

Strings and brass are used to pulsate the danger of "What Did You Do?" I like the whispery use of strings and another high pitched-whistling instrument. I honestly think that this could have been something Bernard Hermann would have constructed had he been alive today.

"Can You See Now?" moves with the determination to hook you in it’s melodic, building grasp. Ottman’s use of piano highlights the loveliness of "Toy Shrine." Ottman builds "The Playground" using the innocence of such a place with the contamination of evil.

Powerful brass and echoed percussion enforce the importance of "Getting Away!" The high flying strings of "Doll Head" reminded me at times of the way Harry Manfredini used them in FRIDAY THE 13^th. "Playing With Charlie" is pretty somber but in the end the threat of evil strikes.

Ottman gets us to submerge into the orchestral suspense of "Kitty Bath." The plucking strings of "Marco Polo" are definitely intense and I like the low register of the orchestra. We are thrown into "The Cave" with the composition working into hair-raising frenzy.