Blade: Trinity is the 2004 movie, written and directed by David S. Goyer and is the third in the franchise of Blade. In this installment, Wesley Snipes specifically returns as the day-walking vampire hunter with a story that revolves around the fact that the Vampire Nation weaves a plan to frame Blade in a series of brutal killings. He, therefore, must join forces with the Nightstalkers, who are a clan of human vampire hunters, in an extreme battle that leads him directly to the notorious vampire legend, Dracula. The film also stars Jessica Biel as Abigail, the daughter of Whistler (Kris Kristofferson), who inherits the vampire-slaying duties that once belonged to Blade (Wesley Snipes); and Ryan Reynolds (National Lampoon's Van Wilder) as Hannibal King, one of the Nightstalkers.
For the soundtrack of his movie, the director compiled a collection of songs, ranging from Rap, hip-hop, dance and house rock along with some metal and basically relied on the Hip-hop and MC and influential producer best known for his work with Wu-Tang Clan – The Rza - together with Media Ventures’ third-rate composer Ramin Djawadi, who previously worked on additional music assignments for scores such as Klaus Badelt’s The Time Machine, The Pirates Of The Caribbean and Ned Kelly and Hans Zimmer’s Thunderbirds, among others.
Most notably, ‘Thirsty’ by Black Keith contains some nice (sampled) string lines beneath the vocals, all in a good melody, but it is ruined by ridiculous lyrics. ‘Party in the Morgue [Club Mix]’ by Kool Keith contains some groovy and dynamic drumming / bass, reminiscent of the Prodigy, but once again it is wasted by totally meaningless lyrics and non-existent melody, giving in to balmy rapping and repeated vocal lines instead.
‘Skylight’ by Overseer is a really energetic and rousing dance piece that manages to stand above the rest songs, with heavy bass and drumming which accomplish their purpose without being interrupted by unnecessary vocals. Again, Prodigy, Orbital, The Crystal Method (especially on their older material and who also have a piece of their own in the soundtrack) along with some Chemical Brothers elements, are once again evident. ‘Hard Wax’ by Manchild is a clear example of a simple method to destroy an otherwise groovy and powerful, techno-oriented piece with horrendously awful lyrics.
‘Blade’s Back’ by Ramin Djawadi is sadly a real mess of a score track, with an unsuccessful and stressing blend of electronic drums rhythms, percussion, disturbing synthesizer brass, dated synthesizer sounds and electric guitars. Somehow it manages to be reminiscent of some of the worst music that ever came out of the Media Ventures studios and as if this wasn’t enough, it abruptly turns into an r’n’b track with the corresponding groovy drums, repeated electric-bass motif and full orchestra that performs the poor theme which can be heard throughout the movie.
Overall, this is very poor and rough work, which will please only some fans of the genre; avoid at all costs.