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I love how "I hate when Goldsmith uses electronics!" has been ranted about at least three times in this thread of so-called unpopular opinions.
Of course, one's idea of popularity can vary, but I suppose by my margin, these would qualify as contrarian.
I love the electronics in Goldsmith scores. They add color and flavor to the work, and they just...sound cool, for lack of a more elaborate reasoning!
I'm happy when I see praise for any 90's Goldsmith, as I'd rather read that than more whining...even if I can't help but kind of agree with those that his work got substantially less interesting after 1990. Even my favorites of that era pale to what Horner, Williams, Scott and others were doing. In a similar vein, J. Williams largely lost my interest post-Lost World, but like 90's Goldsmith, exploring beyond that does yield its rewards now and then.
I never particularly cared for the Indiana Jones theme (or Raiders march, whatever you wish to call it). I like practically everything surrounding that theme!...just, never found the main theme particularly riveting (I've found myself preferring Goldsmith's King Solomon Mines in at least that aspect). Short Round's theme in Temple of Doom is the main theme as far as I'm concerned. 
JW: Fallen Kingdom isn't the best Jurassic score, but it might just be my favorite. The main theme/Indoraptor theme is easily my favorite thing to come out of the Jurassic musical library since the original theme.
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I've never heard the score for Azkaban. But quite a few around here are saying it's the best of his Potter scores.
Sorcerer's Stone is a considerably better score in my estimation -- in style it's like a blend of The Witches of Eastwick and Hook.
Then just go listen to those, both of those are way better.
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Posted: |
Nov 18, 2018 - 9:04 AM
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By: |
A. A. Ron
(Member)
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There are several golden/silver age composers whose work rarely if ever connects with me -- off the top of my head this includes Max Steiner, Dimitri Tiomkin, Franz Waxman, and Maurice Jarre.
I often hate the use of songs in movie soundtracks and when expanded score releases omit actual songs, even those the composer him/herself was involved in producing, I'm generally happy.
I don't give a damn what recording was used in the film. I just want whatever sounds the best or whatever gives me the strongest emotional reaction.
I like all of the Bond scores by David Arnold. I also like both of Thomas Newman's.
I love every single Spider-Man score. That's right, I love both of Elfman's, I love Christopher Young's, I love James Horner's, I love Hans Zimmer's, and I love Michael Giacchino's. I think all of these scores are eminently listenable and every one of these composers nailed something about the character.
The only Harry Potter scores I don't completely adore are Doyle's Goblet of Fire and Desplat's Deathly Hallows, Part 2.
The only Star Trek film score I don't love is McCarthy's Generations. On the TV side of things, no Star Trek show has had a good score since Ron Jones left TNG. The title themes are fine, but the episode scores are beyond dull.
The only John Debney score I love is The Passion of the Christ.
Outside of a few cues from his Marvel scores, I find the work of Alan Silvestri to be an utter snoozefest. Yes, I've heard Predator and Back to the Future.
I never liked Alan Menken very much.
Clones aside, Hans Zimmer is great.
In 2018, John Williams is still the best.
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Giacchino... just writes in circles, churning out interminably repetitive sequences without any sort of movement in any direction before suddenly halting and then starting all over again.
I certainly can't argue with this, and it comes awfully close to how I feel about much of his music. He is very repetitive. You'll hear a wonderful little phrase and think that it is going to develop into a nice little theme, only to have him pull out of it and repeat the phrase, or just abruptly stop altogether. I think that he is more digestible in little bite-sized listenings. Interestingly, I can sit down a listen to an entire album of...say...Lost (any season), and by the end of the album Giacchino has left me tired and exhausted from the repetition, and I'm not enjoying the last tracks. However, if I were to just jump into those tracks right away then they are enjoyable and I'm more engaged.
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My theory about Giacchino has always been that, despite all of his high profile commissions, he is an essentially lazy composer -- hence the repetitiveness and writing in circles. He didn't start out that way, and I really only enjoy his early work when he was still trying.
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Hating Giacchino music is pretty popular here, actually, so...
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If I don’t like a composer’s score, I move on with my life.
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What is this missed potential overthinking nonsense? Either you like the dude’s music or ya don’t! Ya whippersnappers.
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