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GABRIEL YARED - Herrisson

Excellent score, like the majority of this man's work. Where is he? Damn system ate him up after the Troy fiasco.

That's my favorite Goldsmith score.

...but we all know what an expert on Goldsmith I am.

It's a massive favourite among Goldsmith fans ( of which I am one ), who knows? In a few years time and having listened to many more JG scores it may well still be your favourite Goldsmith score!?

Because they're not written by Hans Zimmer, James Horner or any number of other popular composers.

Not harsh enough. This is really, really bad.

-Erik-

Wait 'till Thor discovers it

I would not suggest that anyone here are harsh on RC scores 'just for the sake of it'.

I think it's fair to be harsh towards a score like this. Here you have a composer who, although perhaps not a true "master" of his craft, is capable of composing orchestral film music and can probably provide a decent enough score for a variety of genres. But there's something very wrong when that same composer comes up with a score like this, to a film that should clearly receive something more memorable (and I don't care that I haven't seen the film, it's a superhero film about a guy called Captain America. Even if it's a darker, more modern take on the comic book, it still cries out for a proper musical score with at least one proper theme).

There must be a point at which we can blame the composer for these things?

Failing to be "harsh" on this would be a dereliction of duties. And I don't think it's "harsh" to say you think something's rubbish, if that's what you truly believe. Of course tastes differ and in no way would I suggest I am "right" and somehow someone who does like it is "wrong" - but I can't really believe that Henry Jackman dreamt of writing music like this when he first thought of being a film composer as a young man. I really, really want a filmmaker to have the balls to say "I know you think I hired you because I want you to write something like Hans Zimmer, but actually I just want you to be you - you have a blank page - write the kind of score that inspired you to be a film composer in the first place" or, failing that, that a composer would have the balls to say "I know you stuck a load of interchangeable Remote Control junk on the temp-track because you think that's the only kind of score audiences will accept in 2014 - but if that's really what you want, just check what scores are in your studio's archive and stick them in this movie, you'd save yourself a fortune. If on the other hand you want something truly special for your own movie that doesn't just sound like everything else, then that's what I'm here to give you."

Meanwhile, pigs might fly.

I just listened to a random spy thriller scores from the '60's. I didn't have to apologize for it, make excuses for it, or say that some of it works and that I get why such-and-such was done. In other words: I didn't torture myself with today's "action music".

If I want to be in pain, I'll pay somebody to jam a spork in each of my ears.

Silvestri would have probably regergitated Red 2, which is probably one of the worst scores of his career.

This shitty effort is clearly on the director and producers of the film. I can't believe that this film was an enjoyable experience for Jackman.

Lowest common denominator music was asked for and that's what we got.

-Erik-

I highly doubt that, Pawel. Now, if it was Zimmer writing this score, then yes, I'd say that Zimmer's opinion would have some leverage. This Captain Ametica score is beneath Jackman because we know that he can deliver outstanding music that doesn't sound like every other dumbed down RC/MV score we've heard over the years. If GI Joe and Captain America is the real Jackman then I'd rather hear the fake Jackman who gave us gems like X-Men, Puss in Boots and This Is The End.

-Erik-