Posted 16 March 2007 - 02:06 PM
I love it!
The film version that runs over the credits is very good, and works well in conjunction with the title sequence. It's a punchy, rocky, tough song, which goes hand-in-hand with the new, physical, younger lead actor. And the fact that the melody is woven into the film is one of my favourite "classic Bond" (not just Barry) techniques. It's no LALD, but like say, it does try to have bit of a punch to it.
I know opinions on Arnold's score are mixed, but I tend to enjoy his scores when he has a hand in the theme and has been able to work it into the soundtrack (Garbage's "The World is Not Enough is another favourite for this reason and I also enjoy the song itself).
Arnold has taken some stick for continually trying to copy Barry but I'd rather have him collaborate with Cornell for YKMN than Madonna's effort just tacked onto the start of the movie. Crow's Tommorrow Never Dies suffers from the same problem, though that's not as a bad song (well, on second thoughts, all that wailing is bit of put-off).
I don't like it when the studio wants to add a particular song just to make money (which was the case with both songs I've just mentioned) - I'd rather like to believe that choices are made for artistic reasons.
Silly me.