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So, I'm hoping we can do this without it becoming a "you suck for your opinion" or a "yeah, that composer sucks" kinda thread.
My intent here is to talk about composers whose work you've tried and tried to like but just cannot "get into." This comes out of a conversation I had earlier today with another frequent poster here. (Anonymity must be maintained unless he wishes to out himself.) And, where appropriate, perhaps post exceptions from this composer that you do like.
For me (gulp), it's Alex North. I. Have. Tried. And. Tried. And it's not because I don't like challenging, dissonant work. I just find his music doesn't get me in the heart where I believe music should. SPARTACUS, THE MISFITS, 2001: A SPACE ODYSSEY. All brilliantly composed, there's no question, and yet it just doesn't do it for me. (Exceptions: HARD CONTRACT and DRAGONSLAYER.)
Okay, here goes. Despite my better judgment, I'm hitting "Post Message" now...
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John Corigliano.
I know, I know... he's all that and a bag of chips. But I like my music to stir my emotions, and I don't get much emotion out of anything I've heard of his. Technically brilliant, no doubt about that. Just not my cup of tea.
Any Corigliano that you do like, Matt? I actually don't know any of his scores, although I should. Hasn't he only done a handful?
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I think Altered States is pretty powerful, and it's lack of emotion works for the film / score... so that's probably my "favorite" per se. But The Red Violin, Revolution, etc... all universally lauded and acclaimed by what seems like everyone, don't do much for me personally. Maybe some day, I suppose.
I haven't seen any of those films, oddly enough. I dislike William Hurt for the same reason you cite as disliking Corigliano (lack of emotion), so I haven't bothered to see ALTERED STATES. And REVOLUTION is a subject matter I've never been interested in, so I haven't seen that either. As for THE RED VIOLIN, well, I just don't like violins.*
* This is a lie. I do like violins. I actually have no good reason for not having seen this film. 
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And I agree with you. I can say with complete intellectual certainty that SPARTACUS' themes, including the love theme (one of the most indelible love themes of all time) are classics. I just can't connect to them. Silly me, no doubt.
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This is a topic that pops up with infrequent intervals.
Of the people working right now -- Michael Giacchino and Alexandre Desplat. Everyone goes ga-ga over them, and despite numerous attempts, I've yet to connect with them on a musical level (except maybe one or two things in their career).
Of other 'big shots', I had problems with both Bernard Herrmann and John Barry for many years, but have started to warm to them over the last decade and a half. Herrmann moreso than Barry, but I've grown more and more fond of the Englisman's lush themes (my negative view on his suspense/action material still stands).
I can't make myself properly dig Max Steiner, although he has some scores I'm fond of.
And Leonard Rosenman -- what the hell was up with that? I don't get it.
There are more, but those are some off the top of my head.
I get it, Thor. Not with Giacchino, whose work I find beautifully versatile, but definitely with Desplat. Keep trying to listen to my copy of GODZILLA, hoping I'll grow more fond of it, but though it's certainly a pleasant listen I find it just doesn't "go" anywhere for me. Interesting thoughts on Rosenman, too. For someone who was so fond of himself, his work certainly all feels very similar. I happen to, for the most part, like his music, but I get where you're coming from.
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