Hans Zimmer is known almost exclusively for his larger-than-life action scores, so give him credit for stepping outside of his comfort zone and co-writing with Graham Preskett the country music-inspired romantic comedy effort Something to Talk About. That's all the credit due Zimmer here, however. The score is an absolute snoozer. Its gratingly folksy approach is both forced and awkward, and the melodies are all far too similar to captivate the listener's imagination.
Hans Zimmer's credit may headline The Whole Wide World, but in truth the score was written by up-and-coming composer Harry Gregson-Williams, who later proclaimed "Hans didn't write any music for [this movie]. In fact, he heard my score for the first time at the premiere." Zimmer's fingerprints are nevertheless smeared all over The Whole Wide World - bass-heavy synthesizers and bombastic arrangements are just two of his signature moves borrowed wholesale by Gregson-Williams, who also dabbles in a series of melodic contexts spanning from lush romance to epic action to Latin-inspired dance (the idiosyncratic "Sombrero"). Gregson-Williams is nevertheless too much of a novice to command any of these disparate genres with authority, and the result is a score undermined by its disjointed, often haphazard approach.