Its an interesting study to note that filmtracks has a very definite bias in its reviews towards classicly oriented orchestral scores. I noticed pretty much any score that utilizes a predominately electronic pallet tends to get a very negative response here, regardless of the score's artistic value. For what they are, MI2 and The Bourne Identity are actually pretty good. There is a reason they have garnered mostly positive reviews across the net. I once read (think it may have been on filmscoremonthly) "review what you hear, not what you wanted to hear". Don't dismiss something as terrible because you don't like the style or personally think the film would have been better served by a different approach. Review the music as it exists, not as what you think it should have been.

I enjoy reading the reviews here, however I have learned only objective opinions are given on classically oriented scores. As a rule of thumb, if electronics or action music constitute more than 50% of the score, its gonna get a negative review. Why is that? Perhaps someone will read this and re-examine the way they review other "sub-genres" of scores.