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Oh LET ME COUNT THE SCORES!
Torn Curtain (1966) - Addison did a score that just makes me nauseous. I know Hermann completed composition on a score as well - perhaps someone can fill me in on why it was rejected?
Something Wicked This Way Comes (1983) - I wish they'd have had Delerue come back and re-score the moments where it was required. Horner's music is a last minute after thought of a rip off of his earlier scores for "The Hand", "Deadly Blessing" and "Humanoids From the Deep" all of which were great scores on their own.
Poltergeist III - I've heard Goldsmith wrote a full score for the film before the budget was cut and he was never able to record it. I've also heard that his score, or at least sections of it ended up being re-purposed for his 1993 score for "Malice". Apparently the lullaby for this film was originally a new theme fore Carol Anne... How much better it would have been.
Eyes of Laura Mars (1978) - Artie Kane's score is way too bland for me. In my personal opinion the score should have been more colorful, perhaps something by Pino Donaggio, or David Shire - as Shire himself was a broadway composer to start. Kane's music is much too shrieking and offers nothing more than the mild headache. It doesn't detract from my ultimate enjoyment of the film, though. 
Scarface (1983) - Don't get me wrong - I very much enjoy Moroder's score but I really wish Pino'd scored this one. He, being an Italian pop star, could have found the right beats as Moroder, also an Italian pop star.
Timeline (2003) - The finished film sucked, but Jerry's music, for what of it could have been used, should have been.
Trenchcoat (1983) Not that a great deal of people even know about this one, but Charles Fox's score is trite and sounds like elevator music. I wish someone like Donaggio, who had just scored "Tex", or Bernstein, who would go on to score The Black Cauldron" for Disney, had been given a shot.
Fall of the Roman Empire (1964) As much as I do love Dimitri Tiomkin, I wish Rozsa or someone more fashionable had scored the film. It might have helped the film's performance too, at least have made the film more memorable.
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As someone there at the time, I've gotta say that IV never felt like the third chapter of a trilogy to me.
II and III are inextricably tied together, and yes of course, IV carries on the story - especially in the early scenes on Earth and Vulcan and the final sequence. But the movie went in a very new direction, the bulk of which has nothing to do with the story set up in II and III.
So I think the new direction in music was actually a good way to say "hey this isn't part three, we're doing something different here."
It's just not a fair comparison to ROTJ - which was the third official story in the franchise. Whereas ST IV is more like the 80th!
Hey, I was gonna make that point! Why didn't you wait for me? You coulda waited....
Oh, wait, that's right, I said it was your turn next time.
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LOL M. Zwar!
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As someone there at the time, I've gotta say that IV never felt like the third chapter of a trilogy to me.
II and III are inextricably tied together, and yes of course, IV carries on the story - especially in the early scenes on Earth and Vulcan and the final sequence. But the movie went in a very new direction, the bulk of which has nothing to do with the story set up in II and III.
So I think the new direction in music was actually a good way to say "hey this isn't part three, we're doing something different here."
It's just not a fair comparison to ROTJ - which was the third official story in the franchise. Whereas ST IV is more like the 80th!
Hey, I was gonna make that point! Why didn't you wait for me? You coulda waited....
Oh, wait, that's right, I said it was your turn next time.
I love the fanfare for ST IV but the rest of the score might've benefited being Goldsmith or Horner...
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Cleopatra - Needed a more emotional score, preferably by Miklos Rosza, Alfred Newman or Dimitri Tiomkin.-
Apparently Franz Waxman was initially approached to do the score, but the constant delays in production forced him to back out. While North’s score is one of my all-time favorites, I would have liked to have heard what Waxman would have done for Cleopatra.
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I wish Ladyhawke had a Jerry Goldsmith score. Big time.
Yavar
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Michael J. Lewis apparently submitted a brief demo in hopes of scoring Goldeneye. Given his love of the classic Barry scores, melodic gift, and flair for action cues, I'm sorry this never happened.
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Ok, I do have to agree that Superman II would have been a better film (in either the Lester or Donner versions) if Williams had been back to score it afresh and add new material.
Might have been more Jaws II than Empire Strikes Back, but that would have been good enough for me.
I remember going out of my way to skip purchasing the album though I loved the movie, so disappointed in the anemic retread. (Which, admittedly, Ken Thorne did yeoman's work with.)
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Jerry Goldsmith for FANTASTIC VOYAGE (1966) Leonard Rosenman did a fair job. However, Goldsmith was hitting so many marks at 20th Century Fox in that period. I wonder if he ever got asked to score this movie.
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To err is human. And the critics were in error.
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At the risk of getting excoriated, I was severely disappointed by the Zimmer/Batman scores. I understand I'm in the minority but I wanted something memorable, and the music is the least memorable thing (imo) about those films. Nolan imbued the story with plenty of emotion but the score never elicited any emotions from me. Honestly, that's a complaint I have about the majority of films Zimmer has scored...they just leave me cold and unengaged.
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