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"Wonder Woman 1984" As imaginative as the movie was, the music gave it a generally bland treatment, particularly during the action sequences. But... again... the movie wasn't that great to begin with.
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Best answer here so far is Lukas' suggestion of "Never Say Never Again" - everything about the score feels cheap, sleazy, and completely unlike the coolness of James Bond.
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This is a bit of a cheat since the Bond films always tend to pull from the pop culture of their moment, but certain aspects of James Bond soundtracks stand out as ill-fitting. Not the ENTIRE scores, but just PARTS: Dr. No - the whole score is really out of place - while some moments oddly work like the boat ride to the island, the comedic stuff (usually with Quarrel onscreen) is terrible Live and Let Die - the wacka wacka waow waow guitars sound so dated and too "pop" for James Bond For Your Eyes Only - some of the disco-y stuff really sticks out like the opening helicopter chase and the car chase, while the more orchestral stuff fits well Licence to Kill - there are some shining moments in the score, but much of it treads overly-subtle territory that fits better for a cat-and-mouse movie like "Die Hard" but lacks the orchestral bombast and thematic material that better fits a Bond movie Goldeneye - I've written about how the coldness of this score fits the themes of the movie, but overall this movie could have been improved SIGNIFICANTLY with a better score Die Another Day - this score is virtually unlistenable thanks to the horrible techno beats that even David Arnold admitted were a mistake.
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This is a bit of a cheat since the Bond films always tend to pull from the pop culture of their moment, but certain aspects of James Bond soundtracks stand out as ill-fitting. Not the ENTIRE scores, but just PARTS: Odd that you steer clear of the John Barry ones. To me the rhythm tracks on THE LIVING DAYLIGHTS feel as dated as any of those others do to you.
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I’m probably going to get branded a heretic for this, but I personally feel that the score for The Third Man actually detracted from what was going on in the film (the main theme is good, but it gets a bit overused with little or no development).
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While I enjoyed reading the lecture regarding my brief comments regarding Jurassic Park, I'll stick by my statement regarding the theme. I'll also add that these forums do not constitute a John Williams shrine, so I'll continue to comment as I see fit.
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Dr. No - the whole score is really out of place - while some moments oddly work like the boat ride to the island, the comedic stuff (usually with Quarrel onscreen) is terrible Live and Let Die - the wacka wacka waow waow guitars sound so dated and too "pop" for James Bond For Your Eyes Only - some of the disco-y stuff really sticks out like the opening helicopter chase and the car chase, while the more orchestral stuff fits well Licence to Kill - there are some shining moments in the score, but much of it treads overly-subtle territory that fits better for a cat-and-mouse movie like "Die Hard" but lacks the orchestral bombast and thematic material that better fits a Bond movie Goldeneye - I've written about how the coldness of this score fits the themes of the movie, but overall this movie could have been improved SIGNIFICANTLY with a better score Die Another Day - this score is virtually unlistenable thanks to the horrible techno beats that even David Arnold admitted were a mistake. Agreed on all -- except I'd swap-out Licence to Kill for the themeless ambience of Skyfall. I consider LtK one of the finest Bond scores -- from a dramatic perspective (the listenability of the score on disc is another matter). I think Kamen perfectly captured the dangerous, edgy aspect of Dalton's Bond (as well as the icy ruthlessness of Sanchez).
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I'll also add that these forums do not constitute a John Williams shrine,
Nobody either said not implied they were; pointing out you misinterpreted the theme use, doesn't make us either defensive nor this place a JW shrine. This just comes across as rude. If you're wrong, you're wrong. so I'll continue to comment as I see fit.
Well, of course. No one either said nor implied you can't.
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Oh yeah -- the scoring of the TV series "White Collar". If you were with me when I watched it, what you would have heard is a string of sometimes incoherent colorful metaphors when the scoring began, while I raced the mouse cursor over to mute the video. That show deserved better scoring than it got.
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I have an example from a score I otherwise like. I love John Barry's score for THE BLACK HOLE, it ads a sense of mystery and accompanies the movie extremely well. Except for the action scene towards the end. Barry's heroic "Overture/Laser" music over the shooting and rescue scene seems to me completely out of place. That music fits neither the atmosphere of the movie nor what happens on screen and sticks out like a sore thumb. It's stately celebratory music for a scene where the characters are basically still fighting for survival. It's a misguided use of music.
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Quite many John Barry scores actually. Although I like many of his scores but his style can be very dated some times and does not match the action on the screen. The Black Hole, Howard the Duck, The Specialist and Mercury Rising. I disagree, I think in all those cases the music works very well and adds to the movie, often elevates them. Mercury Rising is a terrific Barry score.
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