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This thread seems to have gone off course.
It started out as scores that don't fit the films they were written for.
It seems to have turned into people simply listing scores and composers they personally don't like.
For some of the titles being mentioned, I can appreciate people might not like them, but I wouldn't say they didn't fit.
There are some truly bizarre nominations if the original question is still what applies.
Cheers
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Posted: |
Jun 10, 2021 - 8:37 PM
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By: |
townerbarry
(Member)
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One for me is from one of my favorite franchises, Star Trek IV: The Voyage Home. It doesn't mesh with the franchise nor does it mesh with the movie itself. I feel it's completely out of place and, to me, not listenable standalone.
You Got That Right…and This Russian Christmas Music Mess got an Oscar Nomination. Friends Nominating Friends..In the Music Branch.
And I know I will get push back…Star Trek: The Undiscovered Country …Truly Needed Jerry Goldsmith…The score is a dreary, mumbled mess of notes. It didn’t work in 1991, and Still Today it is Pure Junk. This Star Trek was good, and Poor Jerry Again was left out. Having Done Star Trek V. Which Goldsmiths score was better than Mess on the screen…As Soon as Those Old Farts Sing Row Row Your Boat…That Stunk Up The Movie House and Cheap Visuals And The Idiotic God Theme Sunk Star Trek V. But Jerry Goldsmiths score has outlasted William Shitners Failure. Too Much?
And Don’t get me Started on Ken Thorne’s London High School Band! That Wrecked Superman 2. 100% Blame goes to them Cheap O Producers, The Salkinds…who were cowards in Sending Richard Donner, after Superman’s Release, A Telegram saying to Donner…You Are Fired! Cowards!
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SCARFACE by Giorgio Moroder. The one weak element in an otherwise magnificent movie.
Seconded. So distractingly banal, it almost took me out of the movie.
As for Star Trek IV, who let in all that Christmas music?
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Oh man. I’m going to go hide before the mobs with torches and pitchforks find me.
I stand opposite most people in that I love Star Trek Nemesis as a stand-alone listen. It’s a miracle Goldsmith was writing what he was writing as sick as he was. But to me it plays against the movie awkwardly. It’s felt to me that from time to time the music plays through and doesn’t respect scene changes and others the tempo doesn’t match what’s going on in the film.
I don’t know. It might just be me. But it just never felt right in the film.
I think this is a typical case of Goldsmith scoring something more exciting than it had any right to be or possibility of being. That movie... has problems (though I believe Tom Hardy was fantastic in it).
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That's your opinions for Scarface many would say that's a stupid statement, because the film is all about intensity taking-over, it needed that sort of music material too keep the film-fan guessing or on the edge of their seat!
Far be it for people to resort to reductive retorts of others' opinions for the sake of ego, but it was minimalism taken to remedial levels - the cinematic equivalent of hearing Ricky and Lucy's child learning how to play drums. Whether it was used for a romantic scene or the climactic coda, I was begging for an overbearing Remote Control ostinato as times.
See? That's how you don't revenge. Alright, good talk.
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