> Then how do you judge a rejected film score?

Rejected scores are a hard topic. First, why does a score get rejected? Sometimes it doesn't fit the directors "vision" or it's plain not working at all or it gets dumped because someone thinks they need a hip type of score - something that they know sells CDs.
For instance Elmer Bernstein's rejected music to GANGS OF NEW YORK. It was a bit uneven in it's approach maybe, but would have worked very well. I have seen the movie only once and liked some of the music I was hearing in it, while some selections felt a bit too artificial.