I'm sure the score will have "emotional juice." Zimmer's scores often do. The problem for me is that the emotions in the score aren't usually focused on honed or used strategically - they are just flooded in en masse. I can't remember who it was, but one Zimmer fan described his music as "I'm just feeling a lot at once!" Emotional surges can feel powerful but they also feel generic (I know many of you hate that word as a descriptor but I don't know what other word to use) in that they can be applied to heroic scenes, sad scenes, triumphant scenes, action scenes, etc. There's little emotional specificity to them. Instead sound effects are often substituted for motif specificity (wing flaps for Batman, razors on strings for the Joker, dissonant foghorns for the many different dreams in Inception, etc.).
RC scores can be fun to listen to. I listen to them myself on occasion. But they are usually background music for me, not forefront soundtracks that I pay close attention to, and its because there's no real line of thought to follow in most of the tracks - its just an emotional tsunami.
I've been trying to put this into words for myself for some time, but I think you've nailed it for me. "Emotional Tsunami".
t: lol
Also, to those of you begrudging those of us for not liking a lot of Zimmer's more recent work or similar-sounding music, it's not because we're doing it because it's the popular thing to do. We actually do have legitimate reasons for why we're not big fans of it, kind of like what ThePhantasm listed in his post.
In my opinion, I do think his sound has been kind of overproduced, to the point where I have gotten kind of tiring to hear whenever I hear something like it. Nowadays, scores like that place a lot of emphasis on rhythm (tempo or a succession of beats), like Zimmer and a lot of his students, instead of melody (basically, a varying series of notes to create a tune), like a lot of old composers such as James Horner, Jerry Goldsmith, Alex Silvestri and John Williams. While I don't mind the former, I tend to gravitate towards scores with more of the latter, as those tend to get more of an emotional response from me and resonate more with me.
As I've said before, I don't hate Hans Zimmer. I love tons of his scores, especially the ones which place much emphasis on melody. Though, I think he's gotten to point where he's kind of stuck just doing scores with just rhythm, because that's what has become popular nowadays. I would like to see him breakaway from that and do scores with more melody in them, like he used to.
However, I will wait for the film to come out to give a fair opinion of what I think of the score. I'm not totally writing it off.
