Name Film Scores that are often considered “GREAT” but you just don’t like?

[publicist 4,643]

14 hours ago, JNHFan2000 said:

The same thing counts for different scores. Sometimes it just takes time. And after a while your taste broadens by listening to lots of different stuff. Forcing indeed, doesn't seem like the right choice.

 

It's a delicate topic, especially when you are discussing it with fans that adhere to a more consumerist perspective, instead of, say, taking the artistic value and repertoire value into consideration.

 

Sometimes i'm amazed that people seem to get into these obscure releases, like recently Quartet's 'Seconds'. It's a bleak, absolutely hopeless, devastating movie about (loss of) human identity and Goldsmith wrote a brilliant sparse score for it, anguished in parts, sadly reflective in others, but it's as far removed from the stuff people usually like in film music i found it interesting that it generated a response.

 

And it's another example of a score that needs attention and defending (like so many other 60's Goldsmith scores), because it's leagues ahead of the competition, but it sure is no crowd pleaser. There's a small but crucial moment pointed out in the recent Goldsmith Odyssey podcast by @Yavar Moradi when Rock Hudson looks into a mirror, and the sad self-awareness is musically captured by a few hushed half-tone steps in the strings. I remembered that moment from the first time i saw it, probably in the early 2000's and that someone else caught it is remarkable. And to be honest, that's to me a much important thing than the endless adulation poured over the usual franchises and 80's classics.

[Mr. Gitz 85]

3 hours ago, GerateWohl said:

I mean, the Lord of the Rings scores are sooo sloow. That is not everyones cup of tea. But I think, you can hear that with every film Shore got more into this writing for big orchestra. In Fellowship you still hear, that he was more used to write for smaller ensembles. But in Return of the King the music is in full bloom. That is why I also consider that score as his best. And I also like the Hobbit scores, even though for both trilogies I consider the respective middle score the weakest of the three.

 

So, my favourite Middle Earth scores are Return of the King and An Unexpected Journey.

Can't help it.

 

 

Oh, don't get me started about James Horner. Almost all his scores held in high esteem don't do anything for me. Avatar, Amazing Spiderman, Legends of the Fall, Glory, The Mask of Zorro. The list is long.

The score is slow? I’m not sure I understand that criticism. Nor I do agree about Shore becoming more accustomed to using the full breadth of orchestra as the series went on. I think he was responding to how the movies themselves changed with different locations and characters requiring different textures and aesthetics. Gondor certainly filling that role. 
 

But when you say the score is slow, do you mean boring? Or that the movie is slow? Certainly there are tracks more deliberately paced than others but “slow”? That’s an interesting one. Hmm. 
 

My god. It’s hard to believe those scores are 20+ years old. How? How is that even possible? Time is a strange thing. 

[GerateWohl 4,326]

28 minutes ago, Mr. Gitz said:

The score is slow? I’m not sure I understand that criticism. Nor I do agree about Shore becoming more accustomed to using the full breadth of orchestra as the series went on. I think he was responding to how the movies themselves changed with different locations and characters requiring different textures and aesthetics. Gondor certainly filling that role. 
 

But when you say the score is slow, do you mean boring? Or that the movie is slow? Certainly there are tracks more deliberately paced than others but “slow”? That’s an interesting one. Hmm. 
 

My god. It’s hard to believe those scores are 20+ years old. How? How is that even possible? Time is a strange thing. 

That with the slowness wasn't criticism but just a statement. I meant by that, that in two minutes of the LotR score you probably have as many notes as in 20-30 seconds of a Star Wars score. That doesn't make it bad. But is rather a score for people who like their music less stressful.

[Richard Penna 3,669]

9 hours ago, Mr. Gitz said:

Wow. Wow. Wow.

 

Hook? 
 

I know I said give me your “Hot Takes” and to get controversial. But…”Hook”?? My god. 

 

What exactly were you expecting when you started this topic? All Williams scores to be off the table in terms of someone not finding it to their tastes?

 

I could mention quite a few 'classic' JW scores that I don't 'get' because my tastes lie in slightly different areas and in his comparatively more recent franchises. If you're not prepared for that, don't start a topic like this.

 

A few above I agree with

 

Forrest Gump - the thematic ideas are nice, but the score is competing with songs and as a whole work it doesn't really work for me.

Lawrence of Arabia - the main theme is wonderful. Couldn't for the life of me tell you what happens in the rest of the score.

[publicist 4,643]

39 minutes ago, GerateWohl said:

That with the slowness wasn't criticism but just a statement. I meant by that, that in two minutes of the LotR score you probably have as many notes as in 20-30 seconds of a Star Wars score. That doesn't make it bad. But is rather a score for people who like their music less stressful.

 

There's just a lot of meandering. Drawn-out organ chords, tone steps that don't do much, musically. But in a way Shore just was the harbinger of what was to come. Simpler compositions, emphasis on huge soundscapes that impress more by their might than by their compositional brilliance etc. There is great stuff in each of these three, but the *pure* underscore, sans set pieces, sure isn't.

[TheUlyssesian 2,473]

On 13/7/2022 at 2:39 AM, Mr. Gitz said:

I have quite a few film scores that I hear film fans rave about, film scores that just do not do anything for me and in some cases actually prevent me from enjoying the film more. 
 

Be warned. This list may trigger some of you. I do not pretend to be a musical scholar or even know my treble from my clef. But I know what I like and what I do not. So without further ado…

 

The first score that comes to mind is one I actively dislike so much it prevents my enjoyment of the film. Let me apologize in advance. This is a beloved score. I wish I felt the same, I wish I could understand how someone could enjoy it. But…

 

Blade Runner by Vangelis  I hate, hate, hate this score. I know, I’m sorry, it’s beloved and I wish I understood why. I can’t stand the synth, saxophone aesthetic…it’s a movie that’s suppose to be about the future but is dated instantly by the music. I do enjoy the pounding drums and vocal wailing but the other stuff? No thanks. I should say, I can’t name a single Vangelis score I enjoy. Synth, especially early synth, is not my forte
 

The Untouchables Ennio Morricone. It’s another one that sounds very dated. The main title music, the synth, the harmonica. That awful music where we see how Al Capone lives in that hotel. Now some cues are terrific. When they go on their first raid? It’s wonderful. However, the movie is overscored. It’s comes off as soap opera cheese at times, especially when dealing with Elliot Ness and his home life. I know that’s a DePalma flourish but..it’s not for me. I also dislike the music in Scarface immensely, but I don’t think anyone would call that a great score. 
 

Beetlejuice: Danny Elfman. Ok let me explain. The main theme is wonderful. Inventive, fun, driving…it’s amazing. But then there is everything else. Those screeching fiddles? I can’t even describe the aesthetic. It’s grating and off putting(which may be the point but it’s still not pleasant to listen to).

 

Man of Steel: Hans Zimmer. Boy I do not get the love for this score. The piano theme is so overused and the percussion amounts to just pounding noise. Oddly enough I really enjoyed the score for the sequel BvS. But this movie? Considering John Williams and Shirley Walker have given the world tremendous Superman themes and are memorable and stand the test of time, Zimmer goes for yet another rising tone theme not too dissimilar from his Batman work. 
 

The Batman Michael Giacchino. Oh Michael Giacchino. How I once held your name with such high promise. Coming out of the gate with The Incredibles, a utterly fantastic throw back John Barryesq superhero score, and then LOST? Man. I was a fan. Your Cloverfield suite for the end credits is still probably my favourite thing you’ve done and the best piece of music written in all of 2008. It’s a shame it went unused in an actual movie and was relegated to an Easter egg end credits suite. It was wonderful. But I digress..Now that you’ve agreed to score every other film ever made, oh boy, has your quality dipped. And no score disappointed me more than The Batman. I would hear fans hyping up your theme and when I finally heard it I was so let down. Yet more pounding percussion. This theme so resembles the Zimmer/JunkieXL BvS Batman theme in style it kinda shocks me. Give me more than some ascending/descending Dun, Dun Dun duns. Please! Then there’s the Riddler motif. Again, it’s been done before. An eerie female lullaby? Hmm. Where have I heard that before?

 

So…what are some of your choices? Don’t be afraid to get controversial. Time to open up and let fly the “hot takes”(oh how I loath that term). 

 

These scores are NOT considered great. They are popular but that's not the same thing as great.

[Bespin 8,475]

• Blade Runner by Vangelis  --> In AFi 250 best film scores
• The Untouchables Ennio Morricone --> In AFi 250 best film scores
• Beetlejuice: Danny Elfman --> A Saturn Nominee, a winner of many prizes, a MUST in the discography of Elfman
• Man of Steel: Hans Zimmer -->
• The Batman Michael Giacchino --> seems generally well reviewed among the critics

[Richard Penna 3,669]

Who's to decide what's a 'great' score anyway?

[Bespin 8,475]

Not you.

[Mr. Gitz 85]

2 hours ago, Richard Penna said:

 

What exactly were you expecting when you started this topic? All Williams scores to be off the table in terms of someone not finding it to their tastes?

 

I could mention quite a few 'classic' JW scores that I don't 'get' because my tastes lie in slightly different areas and in his comparatively more recent franchises. If you're not prepared for that, don't start a topic like this.

 

A few above I agree with

 

Forrest Gump - the thematic ideas are nice, but the score is competing with songs and as a whole work it doesn't really work for me.

Lawrence of Arabia - the main theme is wonderful. Couldn't for the life of me tell you what happens in the rest of the score.

i was kidding. I don’t care if one doesn’t like Hook or not. I mean…it’s an interesting choice and a score I consider to be great, but if someone else doesn’t like it, that’s their loss. In truth that’s exactly the type of response I was hoping for. But I figured it obvious my seriousness was less than maybe the surprise of seeing a personal favourite. 
 

I’m sure someone somewhere saw my “Blade Runner” selection & got an immediate case of the vapours. 

[Richard Penna 3,669]

Please accept my apologies then... it was not at all clear you were joking  

 

I would name further JW scores that don't click with me but it would consist of most of his older scores. Although probably the one I connect with least is Jaws. I just don't get what it is about that score that everyone loves - nothing about its style appeals to me at all.

[Mr. Gitz 85]

1 hour ago, TheUlyssesian said:

 

These scores are NOT considered great. They are popular but that's not the same thing as great.

Did someone anoint you “deemer of what is & is not great”? Otherwise that is a rather arrogant thing to assume, isn’t it? I’ve seen Vangelis’s Blade Runner score on many a “greatest of all time” list. 
 
 

“Great” is open to a wide interpretation. It could mean in quality or popularity. I could have used the word “beloved”(Oh. I did). You’ll note I did not say “GREATEST OF ALL TIME”. Merely “Great”. “Great” could mean extremely well reviewed, or that it won major awards, has a meaningful standing in the score community, or lots of people seem to rave about it. 
 

However it seems an odd thing to get into semantics over. 

The title of the post is what it is. In the body of the post is where detail is  detailed. I elaborated on said title. 

Regardless, someone’s “great” is another’s “great piece of junk”. 

 

2 hours ago, publicist said:

 

There's just a lot of meandering. Drawn-out organ chords, tone steps that don't do much, musically. But in a way Shore just was the harbinger of what was to come. Simpler compositions, emphasis on huge soundscapes that impress more by their might than by their compositional brilliance etc. There is great stuff in each of these three, but the *pure* underscore, sans set pieces, sure isn't.

Doug Adams read this post & shed a single tear from his eye as he gazed far off into the distance. 

[publicist 4,643]

41 minutes ago, Mr. Gitz said:

Doug Adams read this post & shed a single tear from his eye as he gazed far off into the distance. 

 

He's a big boy, he'll survive.

[Tallguy 3,361]

I love a lot of scores that are considered terrible. (Ladyhawke, anyone?) Heck, I love Star Trek 4. (I'm going to go listen to it now!)

 

There are a lot of acclaimed scores that I'm indifferent to. (Anything Zimmer after Man of Steel. I love Man of Steel.) I'm not blown away by any of the Nolan Batman scores or Inception. 

 

I don't hate Hook (I hate the movie) but I don't seek it out or listen to it. Harry Potter is a couple of notches above that. Any Star Wars score after Jedi has some AMAAAAAAZING tracks, but after that is a lot of "Star Wars-y" sounding Williams. I feel like after both Phantom Menace and The Force Awakens, which it feels like he put tons of heart into and are the best of the six, Williams said "Oh good grief, what did I get myself into again?"

 

Funny, I love Titanic. But I've recently discovered Deep Impact and The Perfect Storm where Horner said "Let me see if I can take another run at this Tear Jerker Disaster Movie" thing. Wow!

 

I hate the score for Robocop 2. Surely that's not controversial?

[JoeinAR 1,949]

I have alway thought the Vangelis' score to Blade Runner is as soulless as the film. In essence noise.  

I don't give Giacchino any credit period. Zimmer is in the same orbital plane as Gia. 

Titanic is simply too popular for some to like.

[A24 4,326]

8 minutes ago, JoeinAR said:

I have alway thought the Vangelis' score to Blade Runner is as soulless as the film. In essence noise.  

 

 

I won't be surprised if one of these days you'll say it's the Moon and not the Sun that warms the Earth.

[JoeinAR 1,949]

1 hour ago, AC1 said:

 

I won't be surprised if one of these days you'll say it's the Moon and not the Sun that warms the Earth.

Haven't you ever suffered a severe moon burn? 

[Koray Savas 2,251]

Star Wars

Raiders Of The Lost Ark

[Richard Penna 3,669]

Seconded.

 

Also:

 

Ghostbusters - Bernstein's jazzy style is just bizarre!

L.A. Confidential - this one seems to be praised a lot and has an isolated score.   ...why? The music for the final scene is compilation worthy, but the rest was just dull. I always felt The Edge, his other major 1997 score, deserved far, far more praise.

[Edmilson 7,384]

Here's one thing the thread doesn't make clear: the scores are considered great by who exactly? By the film music community, the mainstream film critics or both?

 

For example, a score like Dunkirk is mostly hated by people like us who listen to film music (and, as a listening experience, that album is crap) but mainstream critics who only watch movies really LOVED that score, called it "fresh, innovative, haunting", you name it.

 

On the other hand, War Horse is beloved by film music fans, but I've seen a few critics who called it too emotionally manipulative, saccharine, melodramatic, etc.

 

I, of course, am firmly on the side that likes War Horse and dislikes Dunkirk.

 

[JoeinAR 1,949]

They are considered to be great by they meaning them. You know who they are.

[Tallguy 3,361]

ME!

[Nick1Ø66 4,687]

7 hours ago, TheUlyssesian said:

 

These scores are NOT considered great. They are popular but that's not the same thing as great.

 

I think Blade Runner has probably achieved "great" status in film music lore. The rest I agree, they're more popular than truly great.

[Naïve Old Fart 9,493]

What's with the , @JTW?

It's just one man's opinion of five scores.

As John Lennon once said: "It's nothing to get hung about".

[Nick1Ø66 4,687]

2 hours ago, Koray Savas said:

Star Wars

Raiders Of The Lost Ark

 

Why stop there? Why not just throw in Superman, ET & Jaws for good measure?

[Loert 2,510]

22 hours ago, Tom said:

I hate to be that guy, but Shore's LOTR never connected with me--just seems like nice-ish settings for old folk music with some standard adventure music thrown in. 

 

Ha! I was going to post this but I didn't want to run the risk of an entire forum subsection mobbing me down. But I have to agree. I've tried and tried and tried, even created a Best Moments suite for each film, but I just don't see anything special in them. They do service the films very well, for that I give credit. And I love the films (and books). But as music-in-itself I get nothing less than I expect. I've tried the LOTR Symphony but that is even worse. The only bit I really like to come back to is the Bridge of Khazad-dûm sequence in FOTR.

 

OK, since I started, here are some more nuggets of negativity for the day...(oh god I will regret this )

 

I don't really get Gia. It's like his writing keeps going the "wrong" way. I stumbled on the End Credits to Star Trek (2009) a while back (note, I know almost nothing about Star Trek). I remember thinking: "Oh wow! This is actually pretty good! Maybe Gia isn't so bad after all." Only later I found out that somebody else wrote it... It's weird because I actually like some of music for LOST, and his early VG music (Medal of Honour etc.) isn't half bad. So I'm not sure what's up with his more recent scores.

 

I don't get La La Land. It's OK, but it's not great (both film and score). There are a lot of clashing voices etc. I'm not sure why it was so popular when it came out.

 

8 hours ago, JoeinAR said:

I don't give Giacchino any credit period. Zimmer is in the same orbital plane as Gia.

 

Despite what I've said about Gia, I disagree. Zimmer is definitely a genius. The only problem is that his music is easy to emulate (badly) and I feel he gets some unwarranted blame for that. Of course, that's not to say it's impossible to dislike his music. If I'm honest, I'm not a huge fan of his work for Christopher Nolan's films. But, for example, his stuff for the 90s animated films (The Lion King, The Prince of Egypt) is mind-bogglingly good.

[LSH 968]

Ennio Morricone's THE MISSION.

 

I can appreciate that the main theme is considered a classic but I'm not actually massively moved by it.

[artguy360 1,843]

7 hours ago, Edmilson said:

Here's one thing the thread doesn't make clear: the scores are considered great by who exactly? By the film music community, the mainstream film critics or both?

 

For example, a score like Dunkirk is mostly hated by people like us who listen to film music (and, as a listening experience, that album is crap) but mainstream critics who only watch movies really LOVED that score, called it "fresh, innovative, haunting", you name it.

 

On the other hand, War Horse is beloved by film music fans, but I've seen a few critics who called it too emotionally manipulative, saccharine, melodramatic, etc.

 

I, of course, am firmly on the side that likes War Horse and dislikes Dunkirk.

 

I don't think there is anything wrong with a score that works best, and even only works, in the context of the film. That's kind of how I feel about Jerry Goldsmith's scores. He writes great music that perfectly serves the movie, but I don't enjoy listening to it in isolation.

[Edmilson 7,384]

6 hours ago, Loert said:

I don't get La La Land. It's OK, but it's not great (both film and score)

Exactly my opinion. LLL is decent, but not the brilliant masterpiece that a lot of people loved.

 

I have a theory that the film music community have grown so used to poor Zimmer knockoffs in blockbusters that, whenever someone instead choses to emulate a more orchestral, old-fashioned style, he/she gets hailed as a "new genius", despite the fact that his/her work is not as good as the classics that inspired it.

 

It happened to Hurwitz in LLL: he wrote a score inspired by the classical musicals of the 40s/50s/etc that is not in the same ballpark as his "muses", but since it was not yet another Zimmer clone, it became beloved by the people who desperatly wanted to listen a score like this.

 

Another example: Pinar Toprak's Captain Marvel. It's an okay score, but since it was more old-fashioned and orchestral than the usual for a modern Hollywood blockbuster, it got a lot of unwarrented praise from sites like MMUK. 

 

5 hours ago, artguy360 said:

I don't think there is anything wrong with a score that works best, and even only works, in the context of the film. That's kind of how I feel about Jerry Goldsmith's scores. He writes great music that perfectly serves the movie, but I don't enjoy listening to it in isolation.

Problem is, I'm not even sure anymore if a score like Dunkirk works in context as greatly as the Goldsmith classics. I'm not saying that movie needed a Saving Private Ryan-like score, but the music that Zimmer (and his very large team) created is souless in my opinion. 

[Holko 9,498]

5 hours ago, Loert said:

But, for example, his stuff for the 90s animated films (The Lion King, The Prince of Egypt) is mind-bogglingly good.

Now that I agree with, back when he still cared, even if he already relied on others (PoE's song arrangements were done by Powell for example).

[Mr. Gitz 85]

15 hours ago, Richard Penna said:

Seconded.

 

Also:

 

Ghostbusters - Bernstein's jazzy style is just bizarre!

L.A. Confidential - this one seems to be praised a lot and has an isolated score.   ...why? The music for the final scene is compilation worthy, but the rest was just dull. I always felt The Edge, his other major 1997 score, deserved far, far more praise.

Ghostbusters is an interesting one. I think the score works well in the film(Dana’s theme is beautiful). BUT

 

Somewhere in an alternate universe Ivan Reitman(RiP) decided to utilize Elmer’s terrible, awful, disco/funk theme for the Ghostbusters rather than the needle drops and it ruined the movie. But as it exists in the movie now? It’s quite effective. That theremin sounding but-not-a-theremin- effect? The pounding organ’s, Venkman’s theme is a bit Curb Your Enthusiasm sounding but it works for the movie, not so much as a listening experience.
 

Seriously though, it’s amazing how that movie was saved in the edit. Instead of using most of Elmer’s score, which included that terrible funk/disco GB theme, Ivan used the Bus Boys “Cleaning Up The Town” which works wonderfully. Same with “Saving the Day”. As a kid when I watched Ghostbusters I would get so freakin pumped up when “Saving the Day” starts. Just once while stopped at an intersection with traffic lights I wanna yell “Come on let’s run some red lights” and then blast “Saving the Day” at full volume. It’s on the bucket list. 
 

 

Apparently Elmer was so insulted at the treatment of his score, he and Ivan had a falling out. 
 

Ghostbusters 2 is another weird score. I kinda love it as it exists in the film, but the recently(& much belated)released score album isn’t much to write home about. I do love that big heroic theme Edelman wrote. It’s quite the juxtaposition - this big Superman-esq theme for these schlubby Ecto exterminators.  

[JTN 2,002]

13 hours ago, Naïve Old Fart said:

What's with the , @JTW?

This whole thread feels completely pointless. If it's meant serious, it's simply people bashing scores that others find great and vice versa. It's people hurting people's feelings and tastes.

I accept that someone doesn't like certain scores, but disliking scores that are considered some of the greatest of all time, like BLADE RUNNER or LORD OF THE RINGS? It's sad to read it, sad that nowadays when there are so few really good scores out there in the sea of mediocrity, people proudly state that they dislike universally loved classic scores. 

And if this thread was meant as a joke, well, in my opinion it's not a good joke bashing great scores when there are scores that are universally considered mediocre/bad and aren't considered some of the greatest by many for decades. 

I get that there are many people who love Hans Zimmer's or Michael Giacchino's work, but I see a trend that these people tend to dislike scores like BLADE RUNNER or LOTR. Or HOOK. And that's very sad to see. But of course everyone has a right to like and dislike what they wish. It's a matter of taste after all. It's just that people used to have better taste. 

[1977 1,743]

3 hours ago, Mr. Gitz said:

Ghostbusters is an interesting one. I think the score works well in the film(Dana’s theme is beautiful). BUT

 

Somewhere in an alternate universe Ivan Reitman(RiP) decided to utilize Elmer’s terrible, awful, disco/funk theme for the Ghostbusters rather than the needle drops and it ruined the movie. But as it exists in the movie now? It’s quite effective. That theremin sounding but-not-a-theremin- effect? The pounding organ’s, Venkman’s theme is a bit Curb Your Enthusiasm sounding but it works for the movie, not so much as a listening experience.
 

Seriously though, it’s amazing how that movie was saved in the edit. Instead of using most of Elmer’s score, which included that terrible funk/disco GB theme, Ivan used the Bus Boys “Cleaning Up The Town” which works wonderfully. Same with “Saving the Day”. As a kid when I watched Ghostbusters I would get so freakin pumped up when “Saving the Day” starts. Just once while stopped at an intersection with traffic lights I wanna yell “Come on let’s run some red lights” and then blast “Saving the Day” at full volume. It’s on the bucket list.
 

 

I love Elmer's GB but I agree. The music in the film, songs and score, is perfect. I hate Elmer's pop stuff, it flies in the face of his otherwise "score this as a serious i.e.non-comedy film" approach. Reminds me, I still need to curate an ideal trimmed down score + songs playlist as I struggle to get through the whole score as an album. I reckon 25-30 minutes of score + 5 of the songs should do it (def. no Air Supply).

[Mr. Gitz 85]

5 hours ago, JTW said:

This whole thread feels completely pointless. If it's meant serious, it's simply people bashing scores that others find great and vice versa. It's people hurting people's feelings and tastes.

I accept that someone doesn't like certain scores, but disliking scores that are considered some of the greatest of all time, like BLADE RUNNER or LORD OF THE RINGS? It's sad to read it, sad that nowadays when there are so few really good scores out there in the sea of mediocrity, people proudly state that they dislike universally loved classic scores. 

And if this thread was meant as a joke, well, in my opinion it's not a good joke bashing great scores when there are scores that are universally considered mediocre/bad and aren't considered some of the greatest by many for decades. 

I get that there are many people who love Hans Zimmer's or Michael Giacchino's work, but I see a trend that these people tend to dislike scores like BLADE RUNNER or LOTR. Or HOOK. And that's very sad to see. But of course everyone has a right to like and dislike what they wish. It's a matter of taste after all. It's just that people used to have better taste. 

As the creator of the thread, no it was not a joke. And no one is “bashing” anything. You need to lighten up a bit. It’s just peoples opinions. 
 

I think it’s rather interesting to see how people can have different tastes. 
 

Frankly, I find your post off putting & borderline offensive. People should feel free to discuss what they like and do not like and when it comes to scores that are considered “great” many might be embarrassed or timid to admit they don’t like something so many consider “great”. 
 

I consider myself as someone who has pretty good taste in film music & yet when I’ve discussed my particular dislike of Vangelis & his Blade Runner score I’m treated as some sort of ignorant rube(not here mind you). Your post has that sort of condescending tone with lines like “People use to have better tastes”. You shouldn’t be trying to shame or make people feel “other” for simply not enjoying the same thing as you. 
 

No one is trying to hurt anyones feelings. It’s a simple thread meant to inspire debate and discussion about differing tastes and aesthetics. We can’t go around assuming everyone loves all the stereotypical “great” scores. Seeing scores like Lord of the Rings and Hook shocked me. But then perhaps my dislike of Vangelis shocked others in the same way. 
 

it’s fascinating to me that some of us can recognize the brilliance and genius in the same scores but then disagree on something like Blade Runner, which is a score I dislike so much it almost ruins the film for me. I dislike the 1980s synth aesthetic. Immensely. It dates films in a way orchestras do not.  
 

I really enjoyed the Social Network score but I’ve wondered, in 20 years will that score feel dated the way Blade Runner or Terminator or Scarface do? Whose to say,

[Kasey Kockroach 2,343]

Considered great by who? 

I’ve heard Titanic only brought up in conversations like this, but never seen anyone like that score. 

[Tallguy 3,361]

5 minutes ago, Kasey Kockroach said:

I’ve heard Titanic only brought up in conversations like this, but never seen anyone like that score. 

 

Hmmm.

 

On 14/07/2022 at 7:40 AM, Tallguy said:

Funny, I love Titanic.

 

[Holko 9,498]

Same, you've just been looking in the wrong direction.

[Kasey Kockroach 2,343]

The proper direction.

[mstrox 6,643]

Absolutely no Titanic fans in this Bryce Dallas Howard poster

[Kasey Kockroach 2,343]

I’ve never heard Titanic (other than the Enya track), so you won’t see me ragging on it. Just find it amusing I see more “Overrated” posts than posts praising it.

[JTN 2,002]

Perhaps you should listen to it and form an opinion of your own on it?

[Kasey Kockroach 2,343]

Nah, this is all I need.

 

[Bellosh 3,381]

6 hours ago, JTW said:

Or HOOK. And that's very sad to see. But of course everyone has a right to like and dislike what they wish. It's a matter of taste after all. It's just that people used to have better taste. 

 

I'm sure if JW never scored the Home Alones, Harry Potters, and Indy films, I'd adore Hook.  But I got into other scores by JW (that weren't A New Hope and the Indiana Jones scores) back in 2008.  So 'discovering' Hook wasn't that impressive for me.  I think that should help clear it up. (At least putting a stop to your confused face emoji )

 

Also I couldn't stand the movie growing up.  Probably another reason.

 

I will be buying the complete edition whenever it is released.

[Nick1Ø66 4,687]

41 minutes ago, Kasey Kockroach said:

I’ve never heard Titanic (other than the Enya track), so you won’t see me ragging on it. Just find it amusing I see more “Overrated” posts than posts praising it.

 

You can be blasé about many things, but not about Titanic.

[Kasey Kockroach 2,343]

Sure I can, it’s easy! 

[Edmilson 7,384]

I don't dislike Titanic, but it's not particularly high either in my list of favorite James Horner scores. And I will never forgive Cameron for excluding the best theme of that score in the movie.

[Mr. Gitz 85]

2 hours ago, Nick1Ø66 said:

 

You can be blasé about many things, but not about Titanic.

Well I do believe you’ll have your “thumbs up” Mr Nick1Ø66

47 minutes ago, Edmilson said:

I don't dislike Titanic, but it's not particularly high either in my list of favorite James Horner scores. And I will never forgive Cameron for excluding the best theme of that score in the movie.

What’s this about Cameron excluding the best theme from the score in the movie? I’ve never heard of this. Which theme are you referring to?

[Nick1Ø66 4,687]

2 hours ago, Kasey Kockroach said:

Sure I can, it’s easy! 

 

What your favourite Horner score from that era?

[Jay 37,281]

If the era is 96-2000, my pick is The Mask of Zorro

[Edmilson 7,384]

1 hour ago, Mr. Gitz said:

What’s this about Cameron excluding the best theme from the score in the movie? I’ve never heard of this. Which theme are you referring to?

It's the theme that appears here (1:32 to 2:20)

 

 

Actually, An Ocean of Memories is by far the best cue in the OST (probably because it's more traditional Horner). It's super sad that it went mostly unused. I assume JH wrote it for the finale, but then Cameron rejected it in favor of tracked stuff from elsewhere.