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Your whole point of view sadly reinforces the kind of thinking that leads to such uninspired scores in the first place. And really, what *IS* interesting about harmonically and thematically flat string chords and soft piano warblings? Is that the best we can hope for when composers tackle geniuses? (of course, the Desplat sound JJ copies here was established long before ToE, but that's beside the point)

It should be mentioned, though, that it's just a second hand copy of 'The Imitation Game' and 'A Beautiful Mind', the first so obviously a template that it makes you wonder how that worked. Both movies came out around the same time.

It's a fun, feather-weight children adventure score (the main theme is lifted from JNH's recent Nutcracker score) that recalls all his recent scores for this genre, i. e. Maleficent, Huntsman, Nutcracker and so on. It's with many percussion and pop elements and chorus, and thankfully lacks overbearing pathos. I quite dig it (though it certainly is a minor entry).

The OST already is kinda long.

The most eclectic of the Morricone/Argento collaborations, ranging from mellow Edda Dell'Orso lounging to Lynyrd Skynyrd rock numbers and weird Italo pop (and some suspense numbers), but on the whole, all of these collaborations yielded memorable results (even the titles). Four Flies on Grey Velvet lacks the memorable main theme of i. e. The Bird with the Crystal Plumage or The Cat o' Nine Tails but it proves Morricone's willingness to try almost anything.

Doesn't this stuff all sound like star Trek II?

Yeah, it's cool in a modest 80's action picture kind of way. I just wish Hill would have reigned Goldsmith in more and not let him go overboard with the Casio stuff. Some of the parts beg for acoustic instruments, especially guitars or castanets.

Oldies but Goldies. The synths often sound atrocious, but a hard-edged Walter Hill south-of-the-border 80's western and the Under Fire/Rambo vibes still makes this a regular ear visitor for me.

No, it's not. I should get what i want.

The Public Eye, yay. Who needs another release of Destroyer? The Prometheus re-recording is great and the Varése sounded atrocious (like a 30-piece orchestra).

Make sure to not leave out this, his most beguiling, one: Equal amounts of italo romanticism are contained in 'Butterfly', poor Ennio Morricone's unsuccessful attempt at making Pia Zadora appear an actress. It received 10 nominations for the 1982 Golden Raspberry Awards including Worst Picture, with Zadora winning Worst Actress and Worst New Star. The score is typically inventive and rather tuneful, with a slightly raunchy feel to some of it (Hot Tin Tub and Girl on my Porch are certainly allusive cue titles) so fans of Morricone's more romantic scores will find a few

It's rumored to be Williams playing the the honky-tonk piano on this score.

Really? I know exactly why Goldsmith farmed that cue off to McK, it's 6 minutes of huffing and puffing, with no real dramatic development. Agree with the highlight (best cue together with The Rock Pile). A baroque Legrand fairy tale score/musical is just nothing i can resist.

Hmm, i cut together stuff, like The Gwendys, which i joined from two tracks, but it looks basically like this (track titles are the same from the old release):