Director Scott Stewart’s vision of the apocalypse is a darkly ambitious blend of supernatural thriller, black comedy, and traditional Western and comic book action, pitting a group of strangers at a remote roadside diner against nothing less than God’s avenging army. Prolific composer John Frizzell provides its creepy sonic atmosphere and horror film jolts with an appropriately ominous musical soundtrack, a moaning orchestral/synthetic soundwash that forms the shadowy backdrop for its gothic action film conceits. Yet there’s also an intriguing subtlety to the dank aural environment Frizzell conjures here. Eschewing trumpets and woodwinds to form a brooding foundation from the orchestra’s lowest tones, the composer then layers in sound and instrument samples that are digitally stretched — often beyond recognition — into challenging new timbres that deftly color the film’s aura of supernatural unease.