Frankly, I think the music in There Will Be Blood was absolutely perfect. You cannot make that film with a simple film score. Nothing in that movie was understated; the music had to be just as big as everything else. If it had been weaker, it would have ruined much.
That being said, I think that most seventies movie scores kind of ruin the movies in their own right; sure, it was another time, and the music spoke of the times, but, in all honesty, I really kind of hated the score in Dirty Harry. It was just SO seventies. OH well. I guess that’s what you get for a film coming out at that day and age.
The score of The Rock was horrible.
Max Steiner’s music annoys me. I can’t help it, but i get a headache whenever i hear his over-romanticised compositions.
2001: A Space Odyssey.
I’m sorry to say this but I actually turned down the volume at one point to a minimum because it got so annoying.
haha good one Grey I can understand the annoyance a couple of my friends also left the room, but I love space Odyssey
That maddening flamenco-guitar and piano score used in Ed Wood’s Jail Bait and Ron Ormond’s Mesa of Lost Women.
There is only one answer…Rain Man.
the Marie Antonette score really pissed me of for obvious reasons.
Jackson’s King Kong
Ennio Morricone’s score for BLUEBEARD, a ghastly atrocity that no one should ever have to endure. See the movie, and you’ll want to hunt Morricone down and kill him with that “honorary” Oscar.
There Will Be Blood? Genius soundtrack! Jonny Greenwood (and Radiohead, for that matter) is a genius.
It appears that only one person has mentioned “Dead Man”. It deserves to be mentioned again. Neil Young’s score for that movie is utterly horrible. I’d rather listen to a cat get strangled. I love Neil Young, I own most of his records, but this score is wretched.
If a song in a score is enough to qualify, this one is it:
Joseph Losey’s “These are the Damned” from 1963 has, among other things, a bunch of Brit ‘leather boys’ on motorbikes. With this in mind, we are repeatedly tortured with one of the worst, most embarrasingly inept “rock” songs ever written: “Black Leather Rock.”
It is impossible to tell if this is supposed to be a joke on the part of the composer, James Bernard, as late-50es, early 60es Brit rock could be pretty ghastly to begin with.
It feels like a rock tune written by someone with absolutely no feeling for rock music, and plays more like the result of a decision on some executive’s part that the film needs a ‘hip’ tune for the ‘young crowd’….It drove me up the wall years ago and still does when I re-visit the film.
I really couldn’t stand the intrusive music in Punch Drunk Love – it kind of wasted what I thought was an otherwise really good film.
While I have an unoriginal hate for John Williams, his worst are Empire of the Sun and Hook.
The problem with There Will Be Blood isn’t with the music, but with the movie itself. It’s as if Paul Thomas Anderson had Days of Heaven and The Shining playing on twin TVs while he was reading Upton Sinclar when — EUREKA! — he thought up this dreadful nonsense. But, instead of gorgeous metaphoric wheat and an elevator hemorrhaging blood, you have…oil. It’s like watching The Beverly Hillbillies with Penderecki’s Threnody for the Victims of Hiroshima chiselling in the background.
The score to “Dead Man” is beautiful. As is the score to TWBB.
Planes, Trains and Automobiles would be one of the great comedies were it not for the ATROCIOUS score.
scarface.almost makes this over the top cartoon unwatchable.
Loved The End in Apocalypse Now. Perfect.
Anyone else annoyed with Revolutionary Road’s score, or have most already forgotten this piece?
Oh opps, just noticed that the last post was a month ago…
The score to Pearl Harbor, Armageddon, Con Air, The Rock, and National Treasure. There’s more that I find annoying, but I find a lot of film scores annoying for some reason. Most modern horror film scores are pretty dreadful as well.
why the hate for con air? i think its hilarious! one of my guilty pleasure movies…
anyway: house of the 1000 corpses, national treasure, snow dogs, oh yeah: mad fucking money!
I’m conflicted on this choice: the music score for Forbidden Planet was groundbreaking at the time, featuring the “electronic tonalities” of Bebe and Louis Barron. Probably a perfect marriage of sf mise en scene and music but it grated on me.
I haven’t yet seen – hell, I will never see – Mamma Mia, but that music would give Dante Alighieri nightmares.
I loved the score for Forbidden Planet, but I can see how it could be annoying.
Fandorin-San, I loathed the score more than Con Air itself.
Scarface score by Giorgio Moroder
Bounty score by Vangelis
Musa The Warrior score by Shiro Sagisu
Bloody awful stuff!
>>I loved the score for Forbidden Planet, but I can see how it could be annoying.<<
Heck, I put on the CD & listen to it without the movie. It’s marvelous & perfect for focusing on writing.
Of course I also play the CDs of those sounds recorded in space by one of the NASA probes … and a good bit of them don’t sound all that different from FP…
I can appreciate the disbelief (Berlin, 2008), and, yes, the `music` was close to the joys of fingernails down the chalkboard. However, I just wonder IF it was somehow, possibly, maybe in reference to the son´s deafness? Long shot?
Keoma by Enzo Castellari. One of the last good spaghettis w. Franco Nero directed by Inglorious Bastards’ Casterrari, but that screeching Buffy St. Marie imitator damn near ruined the film.
“Dances with Wolves” – I felt sooooo manipulated by this score or maybe I just hate the movie THAT much?
Have you seen Eri Eri rema sabakutani? If not, don’t!