Buy it... only if you consider yourself a Danny Elfman completist or if you per chance have a deep desire to enthrall yourself with the performances of a singing pug.

Avoid it... if you are satisfied with the original film's score and don't need to hear a functional but disappointingly derivative copy of it.

Elfman

Men in Black II: (Danny Elfman) Following the mandatory formula that has come to be expected in Hollywood's last thirty years, Men in Black II hauled back most of the same elements from the first film in 1997 for this somewhat tardy 2002 sequel. The second adventures of the suit-clad, alien-busting 'K' and 'J' didn't do as well as the first, perhaps due to the formula of the second film being too similar to that of the first. They're lovable films, but aside from changing the alien menace threatening the Earth and following the auxiliary plotlines involving the two leads, there really wasn't much room for Steven Spielberg's Amblin and Columbia Pictures to wiggle with the same idea. Corny flicks often sell themselves no matter how unoriginal, and at least Men in Black II was working with a snazzy base concept. Part of the nagging feeling of deja vu with the sequel was perpetuated by the result of Danny Elfman's involvement with the project. Elfman was familiar with sequel scoring; his best known such project was Batman Returns a decade earlier, a controversial twist on the Batman equation that remains a fan favorite because of its stark differences from its predecessor. In the case of Men in Black II, Elfman does exactly the opposite, composing and recording a score that is remarkably similar to that of the original Men in Black film, with no distinct new avenues explored for this rather pedestrian regurgitation. The popularity of the goofy music for Men in Black II was destined to hinge on the talents of the songs written for Frank the Pug (performing a cover of "I Will Survive") and the lounging group of disgusting worm-like creatures that inspire their own blend of lazy jazz. If not for these specialty cues, which, along with the obligatory rap song, bookend the album, Elfman's score would be an entirely uninteresting extension of his first score. The Sony album provides a generous amount of this material, thus exaggerating the problem. Conversely, Elfman purists will argue that there is new life to be heard in Men in Black II, if only in the cranked up, lengthy and hip variations on the title theme. But while there are indeed elaborate extensions on that one idea, the remainder of the score is surprisingly mundane.

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In fact, this score is so dependent on Elfman's first Academy Award-nominated Men in Black work that you literally hear either a full or partial statement of its theme in nearly every track. If you're a strong believer that sequel scores should recognize their predecessors, then Men in Black II will be one big treat for you. In fact, for Elfman collectors, this score is the equivalent of what The Legend of Zorro was for The Mask of Zorro, though obviously not as overwhelmingly dynamic in scope. A moderately sized orchestra, jazz band elements, and a light choir are once again on call, and they perform a consistently campy, urban, and silly score that is true to Elfman's heart. The electric bass reprises its role the heart and soul of the score, stepping up a half note in its typical campy progression whether accompanied by the brassy theme on top or not. The chopping string motif is treated with the same independence. Like the first score, this one has a few beautiful orchestral and choral moments of alien wonders, punctuated by "The Light" and those during K's return to the black suit (which revisits his tender theme briefly in "K's Back"). A variety of zipping sound effects, tapping cymbals, and other clunking percussion often set irregular rhythms. As a listening experience, the score is a high energy, functional, and cheesy distraction from normality. In its favor is perhaps a stronger sense of continuity than the first score; this one does seem to flow better from track to track despite (or perhaps because of) its derivative nature. The only true originality is inspired by the worms, for which Elfman adapts the title theme in glorious, loungey swing for the first track on the album (and creates an entirely new jazz piece for them late in his score). The song performed by Frank the Pug is funny for about half a minute, at which point you want to terminate the animal altogether and seek out Gloria Gaynor's original as therapy. The rap song at the end is par for the course, and it's advisable for film music or traditional Elfman fans to avoid it. To the producers' credit, all of the included songs are relevant to the events of the film. Overall, Elfman fans and everyone else in the known universe have heard this score once before, making it an unnecessary addition to any collection. **   Amazon.com Price Hunt: CD or Download

Bias Check:

For Danny Elfman reviews at Filmtracks, the average editorial rating is 3.18 (in 61 reviews) and the average viewer rating is 3.17 (in 115,373 votes). The maximum rating is 5 stars.