After reading this review for Marco Beltrami's new score for Joy Ride, I can't help but think of how stupid some of the comments for this score are. Not only are they rude (Let's see you write a score for a movie) but they lack smarts as well. I don't want to come off as one of those assholes who get mad every time a score gets a bad review at this site(Hell, I'm a main supporter of this site), but when the reviewer said that Beltrami picks bad movies, do you think he cares if the movies bomb? HELL NO! He gets money to do the score and that's that.

By the way, I liked American Outlaws, Con Air, and M:I-2, does that make me less of a good score fan. Oh, that's right, the only people who would like these scores are 13 year olds. I'm seventeen, and I like these scores because of there themanic ablilty and because I like rock music. You said that we shouldn't buy this score to honor good movies. How do you think that makes some poor bastard out there who bought this score and liked it feels.

Beltrami's score works well within the movie--That's all that matters! It's not his best by any means, but it successfully achieves the tone and mood of the film.

Frankly, I'm tired of reading reviews where the reviewer rips a score because it wasn't a great "listening experience", because it certainly wasn't written for that reason. Prime example: John Carpenter's score to Assualt on Precient 13-- there's one cue that's simply sounds like tone....and it works in the movie!

Beltrami's score is exciting and dark, writing in the style that he's best at.

I'll say it once and say it again-- THE SCORE IS WRITTEN FOR THE MOVIE AND NOT THE SOUNDTRACK LISTENER!

-M. James

But why should anybody buy it then? I canīt see the point. I mean if the score is written for the movie not for any listener, then there is no need to release it on CD.
All that is being discussed here is the apparent lack of originality of the score on CD not in the movie.
And donīt you think that Marco Beltrami has done better, I donīt know when, because I donīt like the genre in which Beltrame scores his music, but from just listening to Mimic for example, it is apparent, that Beltrami repeats himself all the time. A thing for which James Horner needed over ten years, Beltrami does it in one.