5/5 A great soundtrack
  by E. Waldrip (Broomfield, CO)
I love this CD. The music is so evocative of the movie. There are several reoccurring themes that run through the album, which makes identifying who or what was the focus of the music at any given point. I even use this CD to drop off to sleep with. It's great!

3/5 Solid score not as good as the X-men soundtracks however
  by M. Gaudet (A Galaxy Far Far Away)
This score/soundtrack is better than it has any right to be as the movie sucked. I thought they could'nt possibly outdo the bad of X-3 i was wrong.

Harry Gregson Williams best work to me is what he did for the Metal Gear video game franchise.

This score while not as good is a worthy action film score and better than the film it is company to. Still were they to make a film worthy to the comics that Claremont and Miller team worked on the score would need to be a whole lot less minimalist as it is here.

I will give Him credit that this score is better than the new star trek one is.

4/5 SOLID action score
  by HardyBoy64 (Rexburg, ID United States)
There is some great heart-pounding music here and I quite enjoy it. No buyer's remorse here! I actually think that the music by itself is a little stronger than in the movie. Not quite as good as PRince Caspian, but this is only my second movie score that I have by Gregson-Williams and I'm not disappointed.

3/5 Harry's Score Has Its Moments But Overall Struggles To Stand On Its Own
  by Kaya Savas (Bethesda, MD USA)
So, I was looking forward to this movie for one major reason. That reason was Harry Gregson-Williams. His last score release was nearly 1 year ago with Prince Caspian, which was an amazing score. John Powell was the last composer to leave his mark on this franchise, and when I heard Harry was taking the helm I got super excited.

I'll stop dancing around and get right to the point. This score is okay. It has it's moments and plenty of Harry's signatures layered throughout. He carries some percussion over from Call Of Duty: Modern Warfare and some vocals that remind me of Kingdom Of Heaven. It's a symphonic score layered with his signature electronics. I think the biggest thing I was disappointed about was that the score never really took off. It reaches a level and pretty much stays at it during the entire film. Surprisingly the film also lacks any major thematic or melodic material. There isn't a tune in the score that you can put your finger on and associate it to this score. So in that sense this score is floating around without a real identity. The best stuff here in my opinion is the music for Kayla, who is Wolverine's love interest who ends up getting killed. There are hints at some touching music there, but again the story leaves no room for it to blossom.

I can't really blame Harry for this one because honestly the movie was just plain awful. There wasn't anything in the film worth remembering and the writing is laughably bad. Everything seems rushed and the story is an utter mess. Harry composed this score knowing well that they would probably continue the franchise, but most likely with a different director and a different composer. In the end there a few pieces that are fun to listen to, but as a huge Gregson-Williams fan it didn't meet my expectations. The score never rises to stand on its own and it's lost within the picture. Looking forward to his score for The Taking Of Pelham 123, because when Harry and Tony Scott team up it never disappoints. Wolverine is a standard score for a less than stellar movie. The film was lucky enough to get this much effort out of Harry.

3/5 The best there is? Not quite, bub.
  by Nathan Blumenfeld (Wilmington, DE United States)
There was a time, a few years ago, when I had Harry Gregson-Williams pegged as one of the best up-and-coming film score composers in Hollywood. More recently, though, he's been uneven: he hits it out of the park occasionally, but far more often writes dull, forgettable scores. Still, I had high hopes for this one: the film's subject matter is the sort of fantasy adventure that often affords composers the opportunity to spread their wings, and after Gregson-Williams' former collaborator John Powell's exceptional score for the previous X-Men film, I allowed myself to hope for another knockout here.

Unfortunately, X-Men Origins: Wolverine, described by the label as "an epic symphonic score," is a mediocre and insubstantial effort. The main theme, established in "Logan Through Time," is very okay, pleasant enough and vaguely epic, even if it does sound like leftovers from The Chronicles of Narnia. While it's used several times throughout the score, it's never really put through the works or played with in any sort of interesting fashion, and the score has very little else to recommend it. Besides the theme, there's a lot of droning underscore of the sort you'll find in Gregson-Williams' scores for Tony Scott movies, a good deal of serviceable but generic action music à la Narnia, and a pleasant and instantly forgettable love theme. Buried in all that are occasional glimmers of something better: the action near the end of "Logan Meets Gambit" is quite good, for instance. But Wolverine is a film that really could have been taken to the next level by a wonderful score and has been done a disservice by this vaguely entertaining but forgettable effort by a composer who's capable of much better.

This isn't awful music, but I can't in good faith recommend it.