Poltergeist III
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| # | Track | Duration | |
|---|---|---|---|
| 1. | Meet The Friendly Window Washer | 4:02 | |
| 2. | This Is My Cousin Donna | 4:09 | |
| 3. | Music Lessons For The Over Achiever | 5:10 | |
| 4. | When Statues Move | 4:14 | |
| 5. | Skinny Dipper's Blues | 4:38 | |
| 6. | We're Back | 4:39 | |
| 7. | Mirror Mirror On The Wall | 4:36 | |
| 8. | Rescue Me | 3:44 | |
| 9. | Ending | 3:03 | |
| 38:15 |
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By the time Poltergeist 3 rolled around, the series had worn out it's welcome. The first film was a brilliant take on Suburbia when it meets hell. The film is now considered one of the best horror films around. With the sequel, however, the directors ended up falling into alot of the same horror film traps and cliches. Fortunately it does even out with a strong acting cast, fairly good story, and impressive special effects. Soon, along came the third and final film in the franchise. Poltergeist 3 does not have any redeeming qualities at all, and is as generic as any 80's horror flick. Not returning to the franchise was composer Jerry Goldsmith who provided two formidable scores for the first two entries. Replacing him was Joe Renzetti, best known for his 'Child Play' scores.
The difference between Goldsmith and Renzetti is the true quality. While Goldsmith used synths in Poltergeist 2, he at least managed to make a score that was listenable and great. With this score, however, Renzetti totally butchers any idea of what could have been a brilliant score. Most of the tracks soak in the same concept of using synthesizer sounds to create ambient music. At times Renzetti does pull out some weird techniques; such as 'This is My Cousin Donna' and 'Music Lessons for the Over achiever'. Other than that, there is no purpose of listening to this album. To be fair, Renzetti's techniques do work occasionally, but the overuse of synth really does drag out the score and make it unlistenable and outdated.
Is there any purpose in buying this soundtrack? No. Is there any purpose in seeing the film? Once again, no. While Joe Renzetti's style may have worked well for the Child's Play film, it is totally lost here. Some of the cheap, 80's synth can best be compared to Enni Morricone's music for the Exorcist 2, ugly and unnecessary. Skip this one.
The difference between Goldsmith and Renzetti is the true quality. While Goldsmith used synths in Poltergeist 2, he at least managed to make a score that was listenable and great. With this score, however, Renzetti totally butchers any idea of what could have been a brilliant score. Most of the tracks soak in the same concept of using synthesizer sounds to create ambient music. At times Renzetti does pull out some weird techniques; such as 'This is My Cousin Donna' and 'Music Lessons for the Over achiever'. Other than that, there is no purpose of listening to this album. To be fair, Renzetti's techniques do work occasionally, but the overuse of synth really does drag out the score and make it unlistenable and outdated.
Is there any purpose in buying this soundtrack? No. Is there any purpose in seeing the film? Once again, no. While Joe Renzetti's style may have worked well for the Child's Play film, it is totally lost here. Some of the cheap, 80's synth can best be compared to Enni Morricone's music for the Exorcist 2, ugly and unnecessary. Skip this one.