The blame for this massively convoluted and ultimatly uninteresting score does not fall squarely on composer Eric Serra. The film itself, while being a "good" movie, was plagued by the director's drab photography and toned-down style. (the director surprisingly went on to make the bright, glossy VERTICAL LIMIT)
However, if ever there was a composer to catch onto a bizzare "feeling" from a film and run as far as he could with it in the music, it's Eric Serra, and that is not what this film needed.
The main Goldeneye tune is quite a catchy, entertaining little piece of music by Tina Turner. And with THE GOLDENEYE OVERTURE, a dark and weird but entertaining piece of spy-and-chase music, this album was looking good.
Unfortunatly, it then dives into a convoluted mess of drab underscore unworthy of album status and wildy inappropriate jibberish, example of the former being THE SEVERNYA SUITE and an example of the latter being LADIES FIRST. Some of this atmospheric music is quite appropriate for the film, and some of it isn't, but none of it works on the album.
RUN, SHOOT, AND JUMP is actually a nifty little piece of action music that is conventional enough to be listenable but still maintains the atmosphere of the film..
The surprise of the album is FATAL WEAKNESS (this music also accompanies the music when boris is twirling the grenade-pen in the film) which is an example of what happens when Serra gets it right with the film's atmosphere, which has sapped the rest of the score in mundane-ness. FATAL WEAKNESS is a MASTERPIECE of brooding, dark electronic atmosphere. If you enjoyed AMBROSE of Hans Zimmer's M:I 2 score, then you'll likely dig this nifty 5 minute piece of dark, throbbing, building suspense.
And then the album returns to its routine of utter unremarkablility. The last hint of inspiration appears in the sub-song A GOOD SQUEEZE.
It surely would have gained a second star in my book if only it had included a somewhat decent piece of action music, a finale to bring closure to any action movie or score. I agree with the decision not to have any music to accompany the film's breathtaking climax on the suspended platform, but this album is desparatly in need of something energized and rousing, and instead we skip straight to yawn-inducing post-violence romance music, and then Serra's inappropriate and almost unlistenable end credits song.
My recommendation is to skip straight to the David Arnold scores and seek out Serra's own THE PROFESSIONAL, and between those, you have essentially what this score could have been.