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Reposting from FSM, because that’s the world we live in…
Listening to the album this morning and at the risk of surrendering any credibility as an Elfman fan, it’s quite clear who what wrote here.
Compare Elfman cues “Logos” or “L Train” with what is presumably Bacon’s “Seeing is Believing” and “Too Much” and you’ll hear the difference. There’s a lilting woodwind that threads through Bacon’s material that sort of sounds more John Powell than Danny Elfman.
Anyways, hard not to smile when you hear the first track on the album.
I was just thinking around a week ago how Elfman’s to-go-to theme (Penguin, Dolores Claiborne, The Next Three Days, Frankenweenie and it pops up as a non-theme in countless other scores) had been missing for a while, but here it is again: it’s what I’m guessing is M’s theme, which is introduced in ‘Seeing is Believing’.
Getting ripped to shreds by critics; the score seems to be getting good notices, though.
Would be nice to see Elfman attached to a real crowd-pleaser again….
Thought this was fine, to be honest. Had a good time.
Loved all the stereo movements during the ‘Logos’ cue, which becomes a little main title. M’s theme is that melody that plays throughout ‘Seeing is Believing’. There were also small motives for the twins and Rebecca Ferguson’s character, as well as a little choral thing for the ‘Blue Giant’. Score had a good mix to my ears and the end credits cue plays immediately, which was nice.
The use of K’s theme was pretty incongruous though. Didn’t work for me at all.
I’d rank the films and scores the same way: MIB > MIB3 > MIB:I > MIBII.
I was never a big fan of the MIB scores in the first place (outside the fantastic main theme), and I’m sorry to say this wasn’t much of an improvement. It seems more generic, somehow, less of the acerbic wit that characterized the first three.
MIB2 will always be my favourite MIB score and album, I think.
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