I know whereof BK speaks about Films In Review and the music reviews of the 1960s.
The critic, Page Cook, never hesitated to declare someone a hack. This generally occurred when someone not formally trained (classically, that is) was assigned to write a film score and peppered the film with nonsensical band riffs and forgettable pop songs.
Of course, Cook was pretty harsh on newcomers and new "scoring" styles that today are nearly worshipped (John Barry springs to mind...the James Bond scores, Born Free, The Lion in Winter).
The pop-style were mostly nonsensical in terms of supporting the film....which wasn't their intent at all ...but in today's terms, they're deemed classic scores by some.
I bought not a few "pop" scores in the 1960s and 1970s because of some piece of music or other that I really loved.
None of them are in the same league as, say, Elmer Bernstein's "To Kill A Mockingbird" or Jerome Moross' "The War Lord"....or even Frank Skinner's "Shenandoah"....not as scores meant to support/enhance the film...or to heighten emotional responses.
I've got boxes full of LPs bought in "cut-out bins" that were from those times...and from those non-formally trained musicians. They're in storage. For whatever reason, I thought I might one day develop an appreciation for them...or at least be able to sell them.
And that might still happen...the selling, that is.