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It’s rare that I’d say this for an Elfman score, but I think it’s too long. A 40-minute programme would work a lot better I think.
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.
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….
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’.
Score is out there. Lots of new sounds and quirks around the main theme – the way it’s used reminded me of how Elfman/Buckley played with the main theme in Fifty Shades Freed (Makeover and Blueprints). Probably closest to MIB2 out of all the scores, but it doesn’t feel quite as repetitive to me. Return of K’s theme is jarring (Elfman doesn’t play with it like he did in the other sequel scores either). My ears picked up two new themes, but I’ve no idea what/who they’re for.
MIB3 is my overall favourite score of the trilogy. The action music is a lot stronger than in the other two IMO.
This does sound fun though. I’ll be darned if ‘Red Button’ isn’t an Elfman cue – Christian Grey’s theme strikes again (as it did in Real Steel, Oz, Avengers, Justice League…). If any of that is Bacon (and a lot of it almost certainly is), it’s Bacon imitating Elfman; there are Elfmanisms galore in most samples.
K’s theme popping up in that one cue is interesting.
Samples
https://music.apple.com/nz/album/men-in-black-international-original-motion-picture-score/1466783981
Elfman will have a credit on any cue which uses his theme(s), so we’re unlikely to know who wrote what unless one of them mentions it in an interview.
1. Logos (1:28)
2. L Train (2:49)
3. Seeing Is Believing (4:45)
4. Job Interview (0:55)
5. I Found You (1:59)
6. Viper Room (1:56)
7. Twins (1:09)
8. Who’s That Guy? (1:23)
9. VR Room (1:37)
10. Too Much (1:31)
11. Vungus Aftermath (1:50)
12. Here Comes Trouble (1:45)
13. Riding a Bike (2:57)
14. Blue Giant (2:04)
15. Pink Trousers (3:58)
16. Flying Fists (3:36)
17. Kabla (2:26)
18. Demise (1:31)
19. Where’s The Weapon? (2:32)
20. Ah, Paris (1:29)
21. The Truth (2:36)
22. Portal (2:09)
23. Like a Son (0:59)
24. Promotions (2:56)
25. Red Button (1:12)
26. End Credits (1:04)Yeah, it’s the monster he was referring to. GDT has only every been complimentary about Elfman and has tweeted about him a few times.
The score for Hellboy II is brilliant btw. Not mixed well in the movie, though.
‘A Wonderful Awful Idea’ is just a mash-up of two of the tracks from the score. If you have the score, you have no need for that track.
The family in Beetlejuice are the heart of that movie, though. It’s their story – despite the title of the movie. Charlie’s home life is ‘normal’ and what have you in CatCF, but, again, that’s what the movie is about – the good child is the one who pulls through (it helped that, unlike with Dumbo, Highmore was/is a talented actor).
The Corpse Bride comparison works – but I’d hold that against that movie too. When Corpse Bride is about Victoria, it really works. But that’s only when it really works.
You’re right that Burton’s leads have often been ‘normal’ in contrast to the wacky goings on. But Keaton’s Bruce Wayne was always interesting and had wonderful interactions with the other characters. Highmore’s Charlie was sweet and earnest and a much-needed contrast to the other kids. Alice’s story is the part of AiW that works best.
Victor in Frankenweenie, Jake in Miss Peregrine and Millie in Dumbo? Just dull characters I don’t want to spend time with – not least when there’s an adorable elephant that I’m 100% invested in.
The Dumbo stuff is great (bar the Baby Mine scene which took place too soon/would’ve been more effective without the song). It’s the human stuff that bogs it down. Thandie Newton’s daughter is a robot and, as much as I love him, Keaton’s performance is so off. I loved Eva Green’s character though; she does so much with so little.
I did like it more the second time, but this really could’ve been something special if they’d just kept the focus on the elephants.
