The Informers is a shallow film about shallow characters with the purpose of indicting the shallow culture excess of Los Angeles in the early 1980s. Instead it falls victim to that which it seeks to attack, becoming an exercise with nothing to offer. Somewhere it lost its way — a film in search of a purpose. This disturbing lack of content leaves the audience adrift in a sea of emptiness, desperately looking for a life preserver and finding nothing.
That is how I opened my review of the film back in April. It is a movie that I pretty much loathe for its complete and utter lack of anything resembling entertainment. It is also a movie I never expected to be revisiting for any reason other than to place it on a "Worst Of" list — which I already did by putting it atop my bottom five for the first half of 2009. No other film has come close to this level of lousiness.
So, why am I here writing about it again? Simple, I have gotten my hands on a copy of Christopher Young's score album. After giving it a listen, I think I may have found the one thing of value to come out of this pitiful excuse for a movie. This score is very listenable and quite different from your traditional score.
Christopher Young has been composing for feature films since the early 1980's where he worked on films like Def-Con 4 — a post apocalyptic B-movie that I have great affection for — all the way up to recent big screen outings like Spider-Man 3, Drag Me to Hell, and The Uninvited.
His work is diverse and incorporates traditional orchestra as well as electronic elements. For The Informers he took a different route, using neither orchestra nor electronics — well all right, maybe a little electronics. Instead of those avenues, he took to the guitar. Why? I am not really sure, but it certainly fits the setting of the movie.
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