I love most of Goldenthal's work. The guy seems genuinely "warped" (in a positive manner) when it comes to his music, always preferring dark, gothic and brooding tones when it suits the film. Hell, even the Irish-unfluenced Michael Collins has gothic elements in it! The guy rocks.
But I guess he didn't like this film. I say that, cause Batman's "new" theme (or overture) doesn't have the dramatism and the darkness of Elfman's, but it's pompous and campy, like a parody of Wagner (check out Fledermausmarschmusik). The same applies to the action cues (like Perpetumobile-or something), while the "serious" cues curiously lack the gothicism and the darkness Goldenthal is known for. Ironic in a Batman film, a series which started as being dark and gothic.
Overall, it's an entertaining score on its own, but seems less compared to Goldenthal's other stuff (like Interview with the Vampire, Michael Collins and Final Fantasy), and especially compared to the first two scores of the Batman series.
> Overall, it's an entertaining score on its own.
That's why I disagree with the original criticism, both of the film and of the score. The film went in a different direction, just enough to make it interesting. (How seriously can you take a film where Jim Carrey is a co-villain?) The score followed suit, again just enough to make it interesting. Any time the tracks are titled "Batterdämmerung" and "Holey Rusted Metal," you know you're not supposed to be taking it seriously, for heaven's sake. Plus, one of the tracks was good enough on its own merits to get played on the local classical music station!