Another one response for Jack Ryder

Martin Scorsese is well-known for his soundtracks, Jack. Hell, Rolling Stone Magazine even has an A to Z guide on his soundtracks. Goodfellas? Mean Streets? Casino? The Departed? The Color of Money? He was one of the more prominent early directors who had a knack for finding the right song to kick a scene into the right mood. He was doing it decades before Tarantino. This is just showing your ignorance on that front - so you probably shouldn't argue more and that front. Check out Rolling Stone's list, it's great: (https://www.rollingstone.com/movies/movie-lists/martin-scorseses-music-an-a-to-z-guide-to-the-directors-soundtracks-20125/). So clearly you have no knowledge regarding your first argument that Scorsese "works with a composer". He's the godfather of perfectly using pop and rock songs in film - everyone else that does it now, does it - whether they know it or not - because Scorsese popularized it.

How about writing for the characters and having them display their feelings through their actions instead of having lyrics do it? You're breaking writing rule #1 - you're telling instead of showing the story - you're just doing it with lazy or too-on-the-nose soundtrack choices. Songs should be used to set a mood or energy, not tell the story. That's your job, not a shitty song's job (seriously, some of the songs on that White Tiger soundtrack made me want to stab my eardrums with an ice pick). You managed to pull it off well with the Numero Uno soundtrack. While I didn't care for the musical act chosen to supply the music, I got a good idea of the proper mood and energy for the piece. You keep getting needlessly defensive when your song choices are criticized. My job is to review the studio's film output, and give my honest opinion. If a soundtrack sucks, it's my job to let potential audience members know what they're getting themselves into.

Worry about doing your best at your job, Jack, and quit whining about me doing mine.

Sincerely,
Jeff Stockton