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I've always wanted to put the Tomorrow Never Dies score in Goldeneye, then we could throw away Tomorrow Never Dies the film forever.
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I'd replace that 'wailing' in THE MIST by an original Isham piece.
- Replace Addison by Herrmann in TORN CURTAIN (nothing against Addsion mind you, except that his music doesnt help the already flacid film. I'm confident that Herrmann's score would go a long way in adding some energy to the story).
- Re-score STAR TREK IV. I like Rosenman (a lot), but for me, and IMHO, his style of music and the adventure just don't gel.
- Don't touch 2001, but for God's sakes, leave DRAGONSLAYER be  .
EDIT: Un-reject ORDEAL BY INNOCENCE (Donaggio), but in all honesty, the Brubeck adaptations weren't awful as is usually said around here. In fact, some of the pieces workrd quite well.
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Ever score composed by Clint Eastwood. No thank you, and stop composing, Clint. Save that for the talented composers out there. You're now Ennio Morricone. You're no Lalo Schifrin. You're not even Anthony Hopkins (I'm not kidding: http://screenarchives.com/title_detail.cfm/ID/21842/ANTHONY-HOPKINS-COMPOSER/)
"Gravity"
Perhaps one of the worst scores I have ever heard. I really like the movie, but I can't watch it again because of that terrible score.
"Screwed"
A comedy movie from 2000 that had just a totally wrong score by Michel Colombier. The film could have been better served by somebody like George Fenton or David Newman.
"Troy"
Unreject Gabriel Yared's masterpiece.
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Star Trek IV (Horner), Robocop 2 (Poledouris), Ladyhawke (Goldsmith), Spartacus (Goldsmith).
Yes, I threw that last one in to be controversial...
Yavar
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I wish Roman Polanski's REPULSION would have a non-jazz score.
Humphrey Searle, I think, would have been an ideal composer to score REPULSION with dodecaphonic music (especially considering what he had achieved already with THE HAUNTING).
If Searle was not a possibility, then my 2nd choice would be Richard Rodney Bennett.
As it is, Chico Hamilton's music does little for the film and nothing for me.
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Many movies from the 1930s through the 1960s were tracked with studio stock library music.
I think a number of them would benefit from tailor-made scores, whether it be a Universal Studios flick or a made-in-Italy production.
I would be interested to hear what Armando Trovajoli would've written for Mario Bava's 1966 OPERAZIONE PAURA (aka KILL BABY KILL), which was an aural patchwork of C.A.M. cues from previous recordings by Rustichelli, Trovajoli, Vlad & de Masi.
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