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1 The IF Suite 7:20
2 A Blaze of Stories 3:07
3 Trepidation Down Memory Lane 1:33
4 One Man's Hospital is Another Girl's Pain 1:40
5 Stairing Down Your Fears 1:52
6 Don't Get Imaginaried Away 2:52
7 Bide and Reminisce 0:50
8 A Room with a Blue 3:20
9 An Imaginary Home Companion 2:51
10 The Balance of Flower 1:10
11 One Blue Over the Cuckoo's Nest 1:31
12 Advanced Placement Therapy 2:28
13 Magical M-IF-tery Tour 6:08
14 Flowers for Benjamin 1:15
15 Brief Interviews with Fastidious Friends 6:44
16 Remembrance of Things Outcast 2:21
17 Granny Get Your Fun 2:25
18 Blue-min' Human 1:41
19 He Totally Blue It 2:57
20 Croissants and Croissants-ability 2:56
21 IF-Win Statement 1:33
22 The Lost City of Bea 6:29
23 Calvin and Jobs 4:36
24 The ALTERNATIVE IF Suite 6:40
Total: 1:16:19
https://music.apple.com/nz/album/thelma-the-unicorn-soundtrack-from-the-netflix-film/1743466045
https://www.qobuz.com/nz-en/album/if-music-from-the-motion-picture-michael-giacchino/k4ciqekzwv6ga
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For what it's worth, the NY Times review references…
"…a film where Michael Giacchino’s misty violins never stop insisting how to feel…"
I expect more than a few people here will take exception to this. But there you have it.
Reviewers who use those cheap shot criticisms just cater to that particular feeling of superiority which arose after the 90‘s.
However, they completely forget that every single bit of a movie is designed to make the audience feel the way the filmmakers intend.
What’s next: oh, the editing is so manipulative - and the cinematography just did not let me imagine the setting as I wanted to, and those actors behaving as if I did not understand the story without them…
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Yes, I wonder how that critic deals with scores like JAWS and E.T, which are continuously telling the audience how to feel.
Oh wait, they're two of the greatest Hollywood scores ever written.
Though I do recall Pauline Kael carping about the E.T. score, by and large critics applauded it.
But again, they were buying what the music was selling.
Surely nobody here would suggest that there are never films where the music is too pushy, right?
So then it just comes down to which ones. And of course we won't all agree, any more than we all agree on whether pancakes are better than waffles. But it's not like all critics agree, either.
True. It often seems, however, that a reviewer jumps on every noticeable score just because it is using recognizable themes and motifs.
And on the other hand these reviewers praise scores which don’t have themes but, to my ears, are very noticeable, too.
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