When it comes to the filmmusic of Alex North, you can really see how much analytic expertise certain reviewers have. An amteur on analysing (film-) music does himmself a disservice, when he reviews North. The only way how he can help himself out of that situation is by copiing from the real experts (an there are very few of them, so be careful). But hell, how does he know when nobody tells him, who they are? Filmtracks or Christian Clemmensen, to name the committer, not very often faces such situations. When he thinks, he knows how to rate a score, he smashes you with objective reasons, yet not seldomly factoring out those arguments, that speak against his let's call it "result of objective recencion". Those are the easy ones for the in many aspects quite uncertain Mr. Clemmensen, because then to a certain degree he has his area of retreat and his construct of opinions (although already built on sand) doesn't collapse at least temporarely. But as time can heal wounds, it can also make those beneath the skin get worse. But more about that is not to be written on this occasion.
Then there are scores whichs intellectual expansions or artificial foresight are just not realized by the reviewer. And the usual suspects of composers of those works for that reason find the way to his "list of trouble-makers". Trouble-makers because when his ego is high enough, he just cannot or does not want to copy from those who have far more competence on the field of (film-) music and then he has to leave objectivity completely behind. Although objectivity might now feel well not beeing raped by such an reviewer this one time, this desperate fellow still ripps off her (oh yes, she's a female) clothes when he judges a trouble-maker score like most of those of Alex North or by another of his favorites, let's say Elliot Goldenthal or the late 60's Jerry Goldsmith, because the lack of knowledge and listening experienc has to be hidden. And when the area of retreat doesn't exist, he has to do a charade. He has to pretend objectivity, where none is.
This side has put those two methods of reviewing without the base of good knowledge and/or taste to perfection. How perfectly Mr. Clemmensen uses one of these two methods or both of them in one review, is on one hand quite respectable, but on the other hand quite bothering when finally discovered. Bothering because from that moment on you know how many whisks can possibly emerge out of the internet community, in which the most dubious opinions can be spread like the seed of bad weed. And as a proverbium sais: Bad weeds grow tall. Filmtracks is the biggest internet side on soundtrack reviews. Bright prospects!

Greetings,
Matthias