hey there,

actually pretty cool, that someone writes a response like this to a review like the one above. I expected the review would be along such lines - as a lot of other people here too I think - but still, good response.
I have to say I disagree on some parts of your argument tho, especially the intellectual aspects. Film music has many ways it can work and there is not one single approach that is more valid than another, except for maybe that it has to work in the context of the film. Then again, some filmscores work very well, while working in opposite directions to the film they are underscoring. Carter Burwell said in an interview that he likes to give a scene what's not in it, instead of underscoring what's in it, meaning that his approach is more about what the scene is about in context - which is a more intellectual approach. Still it is meant to give a certain emotion to the scene. Being intellectual IMHO has not only to do with the structural approach to music (like serialism or if it's a double fugue), but also how the general tone of the music works in context of the film.
In TORA TORA TORA Jerry Goldsmith used a strong japanese tone that underscores both the traditionalism, heroism as well as doom of the attack on Pearl Harbour. He could have just written martial music or have a marching band play, but he chose this more intellectual approach, which takes a little time to get accustomed to instead.

Hope I got my point across, no criticism intended. And btw, I would love to hear a good viola solo from Zimmer. Violas are awesome!

cheers
Flo