Those movies all featured romantic relationships for Jerry to write romantic music for. Did S*P*Y*S? I'm wondering what sort of depth Jerry was *supposed* to bring to that, that he didn't. Sometimes surface level silliness is all that's called for (and it can be tons of fun). However, that's why I do prefer Looney Tunes: Back in Action of Goldsmith's two zaniest scores, because amazingly it feels like it has some depth at times.
Definitely not faulting Goldsmith for that, the movie gave him very little opportunity indeed. I was just saying that to me it stands out as being unusually one-dimensional and corny (just as music) compared to his other works. Compare S*P*Y*S to Goldsmith's Flint scores, which cover some of the same ground (espionage parody, with musical references to Russian classics) with far more energy and style.
I don’t hate Criminal Law, but I frankly kind of adore Warlock and it makes me sad whenever I see someone list it among Jerry’s worst. I thought the Intrada remaster/expansion really revealed it as a 9/10 effort, no joke! One of Jerry’s most unique and moody scores. I’m not always in the mood for it but when I am, it’s truly amazing IMO.
There are very good things in "Warlock" indeed. Not all of it is first rate, far from it IMHO - Jerry is on autopilot a few times too many, resorting to his familiar bag of tricks - but it's coherent and exciting enough and the electronics don't irritate much. No, "Warlock" is light years ahead of Goldsmith's other infamous efforts.
Did anyone care when Step out of Line/Brotherhood of the Bell was issued by Intrada? I did, I love that obscure bag of scores I'll never see the films for!
Just gotta chime in with GoblinScore and Graham W. I distinctly remember when these showed up on Intrada's site - I was so excited and surprised! I ordered within seconds. And still listen to both regularly (Brotherhood my favorite).
By the way, Brotherhood is available on disc and it's a wonderfully restrained conspiracy thriller. I thought it was too slow the first time I watched it in the 90's (on cable), but then 15-20 years later I found it mesmerizing.
The music brings most of the atmosphere and sense of doom, but that makes it play well against the superficially bland visuals.
Runaway is a thrilling and melodic composition that well develops Jerry’s thematic material. The only reason it’s painful to listen to is the all synth (first half of the 80s) nature of it. It sounds “orchestrated” so it’s particularly painful that it’s not being performed by orchestra. I suspect an new orchestral realization of this score by the likes of Leigh Phillips would do wonders for its reputation. It’s a good composition marred by dated synths. I certainly derive more from it than Do Not Fold, personally.