The Boston Globe
"Ladder 49" initially looks as if it's going to be a lot more pious than it turns out to be, although the sap still rises whenever William Ross's glutinous score, the single worst element of the film, turns up the volume. These characters are meant to be simple (and they're effectively played as such by the cast), but often enough that devolves into the simplistic.

The Baltimore Sun
Ladder 49 could have done without William Ross' angst-ridden score; for a film that strives mightily to avoid hyperbole, the music sounds more appropriate for a TV movie of the week. The film could have spent a little more time on the day-to-day reality of firefighting, a job where, on a good day, nothing happens. And there's some speechifying at the end that only serves to underscore a point that doesn't need underscoring.

The Richmond Times-Dispatch
Jay Russell keeps the direction heavy-handed, with lots of self-consciously dramatic moments, slow motion, jigglevision camerawork and William Ross' vaguely martial musical score that is poundingly full of horns and drums.

The Hartford Courant
William Ross' soundtrack is a particular problem as it swells and overreaches, underscoring scenes of firefighting with too much pomp.

The Winston Salem Journal
With William Ross' intrusive score accentuating every melodramatic moment, director Jay Russell can't resist repeatedly indulging in slow motion, all the better to emphasize moments that don't require emphasis. It's this sort of maudlin manipulation that douses the film's dramatic fire.

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Originally posted by scoreman:
awwwwwwwwww.. lol i actually liked the score in the movie. however, i guess i can see how some may think it's a little over sensitive. the horns and drums didn't bother me at all.

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FYI, we have an interview with Bill on this score:
http://www.musicfromthemovies.com/sotw.asp?ID=20

All the best,

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Originally posted by sean:
The score stinks and its intrusive like many of those reviews say, but I would put the blame not on William Ross but on whomever it was who forced him to imitate James Horner's pseudo-Irish music for The Devil's Own. (Anyway, it's not a good movie to be involved with in the first place.)

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Originally posted by BMikeJ:
Why is it not a good movie to be involved with? Were the filmmakers selling drugs to schoolchildren?

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BMike, how did you know!?! Jay Russell, the director of Ladder 49, is in serious trouble for this! Don't believe me though, read this disturbing news for yourself:
http://jay.russell.wasarrested.com/

I think the critiques of the score are unfounded. I felt it serviced the film well and was far from obnoxious.

WILLIAM ROSS - Ladder 49 (score only – promo)

The score opens with some vivid traits of John Powell (particularly from BOUNCE, GIGLI - the dense use of guitar, drums, electric bass). Some lively xylophone cues that follow, reminded me of Thomas Newman, but still he manages to enrol all this in a more personal, subtle style. Ross also wrote a couple of Irish-flavoured pieces with flute solos on a classic guitar veil, all dressed with some smooth strings, resulting In a lovely whole. Such an example is ‘Award Ceremony’. Also loved the plain - but nice - main theme (which reminded me a bit of TREVOR RABIN / HARRY GREGSON WILLIAMS’ main theme for ARMAGEDDON but only at the beginning of them). Often found are some very simple in structure action pieces with strong strings passages along with militaristic snare drum, reminiscent of Zimmer’s Backdraft score in many places. The most remarkable of them all being ‘Jack In The Hole #4’ which uses distinct ostinato (on the lower strings) and repeated snare drum / percussion lines. Still, the true highlight of the score lies in the beautiful, intimate and sentimental piano / strings passages such as the concluding ‘Memorial’. A powerful and emotional cue based on the main theme.