by Jason AnkenyThe Rainmaker resurrects the jazz sensibilities Elmer Bernstein adopted for his previous score (the superior Hoodlum) and, this time around, the music is both flat and forced -- fitting awkwardly with the John Grisham legal thriller machinations depicted onscreen. Bernstein seems to be operating on autopilot here, writing repetitive big band-inspired themes further undermined by tepid solos. None of the music achieves the suspense the genre demands, although it's difficult to imagine the kind of context where The Rainmaker might blossom. Bernstein seems to care little about this music, and listeners will find it difficult to muster much enthusiasm as well.