So yeah, I was just reading all such comments people had posted here and I can't believe it. I too strongly disagree with the reviewer, but I'm not going to get that worked up about it. Seriously, though... there were like death threats or something, simply because he rated a soundtrack lower than one would have wanted. I don't quite think that Clemmenson hates Goldenthal, and even if he does, it's quite understandable... not many people enjoy such harsh dissonance. I happen to love it, but I know many people who would think otherwise... It seems as though Clemmenson does tend to rate Goldenthal lower than I think he deserves, but then again, I don't think any Goldenthal soundtrack (besides Frida) is that coherent--but I don't care. It also seems like Clemmenson always gives Goldenthal the respect he deserves, understanding that he's more sophisticated than... say, Hans Zimmer (whose music I also enjoy, but I place Goldenthal a bit higher, but not too much).

I can't lie, though... I am a bit puzzled as to how works like "House on Haunted Hill" and all sorts of other Don Davis works were able to receive such high ratings when Davis and Goldenthal seem to write in the same vein of postmodern... uh... music (The same with Marianelli's Brothers Grimm and V for Vendetta, which were equally if not more dissonant than anything Goldenthal has produced).

Now my opinion: Titus is an amazing soundtrack bursting with imagination, creativity, and very colorful orchestrations. I can find no flaws within it (except maybe for Mad Ol' Titus)

I'm not just saying that I loved it because I'm a Goldenthal fan, in fact, ALIEN 3, which most fans consider to be the most holy of holies regarding film music, irritated me beyond belief. It's not the dissonance (I use that word too much, but I can't think of another way to put it)... rather the LACK of dissonance. I bought it expecting an hour of "TOCCATA AND DREAMSCAPES" and it was mostly just moanings and such other sound effects produced by the orchestra, though LENTO was outstanding and so was the latter half of THE ENTRAPMENT, but the Adagio did not impress me as much as it did most others, who regard it as the most spectacular piece of film music ever conceived (I find that the Grand Finale from Edward Scissorhands is the most spectacular piece of music ever created, but this is not Elfman, it is Goldenthal we are talking about.)
Well, there, I have posted my opinion... hopefully some will agree, but I'm not quite sure anyone will even see it seeing that the last post for this soundtrack was like 2003 I think