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Continuing from LSH's post above, this track by Newman must have been very much out of his comfort zone, a simplistic car chase, probably temp-tracked with numbskull Tyler hammer score. There's a very cool jazzy approach here that works beautifully, and the choral stuff is ...well....something (probably not very idiosyncratically him,,,,). The last few minutes expand that Night Window sound from 1917 into action mode. Cool shit.

As many have pointed out, this is an attention-grabbing social media gimmick with no substance. It generates headlines in Variety and brings attention to the film that a score by a more talented yet less rambunctious composer would not do without the (unnecessary) spectacle. Very much part of the stunt-of-the-year philosophy that the MI films now are. I don't think the gimmick has carried much weight though outside of film music circles

Horner from 1>55 onwards

Totally this, Goldenthal literally invented his own playbook and got away with it. I don't think fans now understand how awesome his role was in the early 1990s. From a marginal score on Pet Sematary to blasting it all out on Alien 3 and then becoming WB top guy in a few years, and WB more or less allowing him full reign on the craziest (and massively expensive) scores one can think of. No one has had that sort of form, Demolition Man was step 2 Confronting the Chief is the trailer music for Men in Black. There's at least 4 minutes more of this goodness on the complete track. We just don't have it yet.

Patrick Doyle's Indochine - a fantastic, massive orchestral score, great themes. fantastic orchestration:

Silvestri's Judge Dredd - this was the key track missing from the original release, which somehow formed the end credits? Anyways, brilliant 1995 music with the Goldenthal horns making an appearance. David Arnold's Stargate set the bar so high for 90s Carolco orchestral adventures that Silvestri had to go an adapt his previously dry style to the massive orchestral force that comprises Judge Dredd - Silvestri before 1995 sounds very very different. And a lot of scoring moved to the Arnold school of massive orchestral forces - see Cutthroat Island, Twister

As long as this is being recognised by who wrote most of it

There should be a thread about would-be Batman themes from the 1990s by talent that would have been able to get those commissions - like Silvestri and this end credits to Judge Dredd. If Goldenthal had not been hired on the basis of Interview with the Vampire and Demolition Man, Silvestri would have been a candidate. JNH would probably been Schumacher's pick but he blew that bridge by blowing out of The Client. Williams and Goldsmith would have been considered but would have been too established in their sound. Probably the same for Horner (even if 2012 Spiderman refutes that). Warner Bris were looking for a fresh sound so Goldenthal was the guy Not feeling it for any of DP's stuff, despite the 'live djs'!) Sounds like a Balfe with a bit more time on his hands and a jazzy touch. I know PB is capable of actually interesting compositions so am surprised why his Spiderman stuff is getting so much attention. He reworked a motif from the first score into what is still his only great piece of work:

Silva and BSX records.

Even a Wallfish will click on that and go .......

And that is what Wallfisch used as his non-Keaton theme Man, the Elfman is so classy and eloquent compared to the same shit nowadays

But even the great creatives are interchangeable......we picked the wrong hobby

It's not a great film or a great score. But Berenger is powerful in in

This score has the same sort of organic, textural reference to and understanding of franchises that McCreary's Godzilla score has - a full command of the sound palette, orchestrational flourishes, references, modern idioms, brilliant melodies, 'production' as well as Don Davis and Elliot Goldenthal as the key reference points: I don't know - Bear's work is astonishing. Thank you Adams and Davis and Goldenthal. One of the beauties here is that I don't have to know the narrative or story, the bombast of the composer will bring it over

Nah, this score is amazing. You need to give it a couple of listens - the (intentionally) abrasive HZ stuff is a tiny part of the whole enchilada. The majority is brilliant, fully orchestrated superhero bombast that is probably more like some of the awesome stuff that Murray Gold did on Dr Who than anything - thinking of the persistent high piccolo runs and reliance on clear bombastic melodies, as well as Davis on Matrix *on Adams..... In fact, if this was not nearly 2 hours long, you could label this as a symphony for flute, piccolo, orchestra, and electronics. There is just an amazing amount of high-pitched woodwinds in this (my absolute favourite sound in the world).

I don't have time to pay attention to Avatar minutae, but this sounded like an actual score - real themes and orchestratrions, presence, meaning development of thematic strands. Precisely what is missing in all current HZ-inspired nonsense. Absolutely loved what Franglen did here and the Songcord theme is a powerhouse as are many of the action cues. So pleased this stuff continues to be done whilst the music world burns because of an ignorant German.....

Shore rocks when he gets creative - this one is a total beauty

er.

T-P for my bunghole...... Young composed this which is the greatest interpollation of the idiotic Batman HZ crap: Just wonderful music and composition, and massively bombastic and melodic, so authentically Young....

A threat for trying to understand why some sizzling careers blew out. 1. Don Davis - was it a breakdown with the Wachowskis, him going off to write an opera for years, a temperament, a move to zimmerization? The guy composed this on top of doing a Howard Shore-like job on The Matrix. Joel McNeely - destined to be a massive successor to both Williams and Goldsmith. Composed three massive bombs in a row (Virus, Avengers, Soldier), all with absolutely brilliant scores. Was this industry typecasting? How did Goldsmith survive 1985-1987, he composed some of the biggest bombs available (but also got Oscar nominations....)? The answer is probably cos he had credibility that McNeely could not pull off at the time. The McNeely stuff is up there with anyone in terms of complexity and functionality, and he obviosuly ghosted for Jerry on Air Force One. How can his prospectives end just like that?

I really hope Wallfisch did not use that toiletware......

Andy - I agree with you. but a lot of it is to do with Jarres compositional problems Sorry, guys, don't want to get caught up in a discussion about a score that i dont much care for.

Yes, perverse. Hitchcock. Women. Ties. And shit. And awesome Goodwin score

The most elegant, most perverse 2 minutes of dark waltz composition, influencing 1000s of Goldsmith and Young compositions and there onwards.....

Let's hope Balfe picks up on those cues suggesting that he try a bit more