"And this one will really spice things up in the bedroom, darling!
It's bullet-proof but he can still tear it off you with his teeth."
I enjoyed Michael Giacchino's work on the film; I think those that denigrate it as a John Barry rip-off seem to forget the other allusions in the score to Henry Mancini, William Lava and many others. Yeah, there are some direct Barry licks in there, but considering that Syndrome's headquarters is straight out of You Only Live Twice, I think that the references were pretty appropriate.
But as the film came to a close, something else occured to me. This is one of the few films I can think of in recent history that actually has an end title written for it. Nowadays, end credits are sort of a graveyard, either with a bunch of songs slapped onto them in order to sell the soundtrack album or a pastiche of tracks from elsewhere in the film. John Williams has almost made an art form out of the latter (although to be fair, he did record an intro to the credits of Harry Potter and the Prisoner of Azkaban, the end title suite of which is very well done). X2 had a real end title as well, but I am really hard-pressed to think of another recent film that has.
I find this disappointing. An end title used to be where a composer could present his themes in almost concert form, providing in my opinion a more satisfying close to a score. Now it is more of an afterthought, which is ludicrous when you look at how long end credit scrolls have become. The Incredibles has a wonderfully entertaining credit sequence that is accompanied by "The Incredits," a snazzy coda to the score. While I am more inclined to watch credits than most, I remember seeing The Incredibles in the theater; the audience stayed for the entire head credits section of the end title. This almost never happens anymore. I'm not saying they stayed for the music, but the animation over the credits is scored by the music, which maintains interest throughout a rather long running time.