"[3] Pemberton felt essential on how the spoken word was to the themes of the film, thereby being cautious with the score.

While writing the first cue "The Hunter", Pemberton recalled that the theme should be "philosophical" and "visceral".

The film furthermore consisted of a "ping" sound heard throughout, which Pemberton described as a load of guitar harmonics re-recorded through a guitar amplifier with a spring reverb and bent in a sampler, so that they are slightly in and out of tune with one another to give an uncomfortable feeling to the listeners.

[5] Jason Pirodsky of The Prague Reporter called the soundtrack as "terrific Morricone-esque border" which "effortlessly moves from Southern twang to pulsating Euro beats".

[6] Pat Padua of the DCist wrote "Daniel Pemberton’s score is, unlike so much movie music these days, unobtrusive".