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Elfman (top to bottom the best)
Giacchino III (Humpty Dumpty, Hunting For Jules and Schifrin & Variations are all-timers; actual fun was had here)
Giacchino IV (film version of Love The Glove better than cutesy album version)
Kraemer (I really like this, despite it being 4th)
Zimmer (awful)
Balfe (worse than awful)
Silvestri's rejected score would be below III. His train cue alone was better than anything else below the third score.
Excited to see the new film. Less excited after hearing the terrible temp track-plagued score. Stairs And Rooftops would have been 100% better if it was just bongos, piano and horns. The random, lean-on-the-keys sounds ruin the cue.
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I haven't heard Balfe's score yet, so I am not including it in the rankings. For the first five, from best to worst:
M:I 2
M:I
M:I Rogue Nation
M:I 3
M:I 4
I enjoy listening to them all, so I enjoy even the worst ranked quite a bit, but one of the scores has to be at the bottom.
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I just heard Balfe's score.
from best to worst.
Awesome | Mission: Impossible (Elfman)
Fantastic | Mission: Impossible III (Giacchino)
Very Good | Mission: Impossible - Rogue Nation (Kraemer)
Good | Mission: Impossible - Ghost Protocol (Giacchino)
Mediocre | Mission: Impossible - Fallout (Balfe)
Worst | Mission: Impossible II - (Zimmer)
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Mission: Impossible (Elfman)
Mission: Impossible - Rogue Nation (Joe Kraemer)
Mission: Impossible - Ghost Protocol (Michael Giacchino)
Mission: Impossible 2 - (Hans Zimmer)
Mission: Impossible III (Michael Giacchino)
The first four are all so great it's really splitting hairs to rank them, but this is where they would fall. Elfman's thrilling train climax music pushes his to the top. Kraemer's was just so inventive and fresh and engaging. Giacchino's Ghost Protocol was ridiculous, over-the-top fun with zany action cues, Russian chants, bizarrely cool Indian lounge music, and that stunning statement in "A Man, a Plan, a Code, Dubai." Zimmer's was without fault with cool techno beats, hard rock guitar-infused action music, Lisa Gerrard wailing, and a great Zimmery love theme. It's perhaps only fourth because of how much I overplayed it back in 2000. "Bare Island" alone commands respect.
Mission: Impossible III...eh, I just don't get the love for it. "Humpty Dumpty" and "Schifrin & Variations" are good stuff, along with the similar action tracks "Masking Agent," "Voice Capture," and "See You in the Sewer," but beyond those the score does nothing for me. Every other M:I score I appreciate as a whole.
We'll see where Balfe's lands. I suspect either above or below M:I III, just because of how high the bar is. Time will tell.
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The only one I considered good is M:I:III (not the best from Giacchino)
The others, even M:I:2, are terrific.
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Just listened to Balfe’s Fallout. It’s generic at best. I desperately waited for something interesting to happen. Nada. I can’t wait to see the film, but the score outside of picture is without a doubt the worst MI score. And I’ve never been a complainer. I really wanted to enjoy it. It’s awful on its own.
I just wanted to stress "again", I'm not personally judging any of these scores as "standalone" listening experiences. I am judging them solely on how I felt about them from within the film. I know many of you do like to approach your film scores differently though and that's fine, nothing wrong with that.
I don't think I've even listened to the large majority of Mission: Impossible III outside of the film, where it did nothing for me. Then again I'm really not overly keen on Giacchino, never have been, and he's also one of the rare film composers where my dislike of his work bleeds out towards the technical side of things. How one man's work manages to think so big and sound so small is a very unflattering accomplishment.
My view Giacchino's post-game work was initially clouded by another friend's absolute and somewhat irrational hatred of him, but it's the technical side of his recordings that fueled my own eventual distaste. Giacchino's music has gotten less and less interesting as he's done more work, especially noticeable since he is hellbent on saying yes to every reboot of films with iconic scores, and his 1930s mono recording preference does nothing to cover it up.
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Silvestri totally ripped off Williams' prequels music here.
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Silvestri totally ripped off Williams' prequels music here.
Haha, but really, it does sound like Nixon (which had just come out at the time he scored this).
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