Collectors of Elfman's work will note that he at times cranks out serviceable but not necessarily memorably comedy and children's music, ranging from Flubber to Meet the Robinsons, reminiscent of John Powell's career in the sense that their auto-pilot for some of these assignments is guaranteed to fetch a three-star rating. In Mr. Peabody & Sherman, Elfman lays waste to several influences that are intentionally impressed upon the score, including outward classical and anthemtic references. There are also subtle allusions to possible temp track placements, especially in the adherence to styles better attributed to both Powell and Silvestri. But, on the whole, this score is absolutely saturated with Elfman's trademark mainstream musical mannerisms. The bouncing sequences of upbeat melody feature, for instance, the composer's expected bass string plucked rhythms and slightly jazzy saxophone or brass themes on top. The orchestra is well utilized in the soundscape, Elfman applying a wealth of impressive compositional techniques, especially with the woodwinds, that keeps the work technically superior. Despite the constantly shifting destinations for the time machine, he doesn't go overboard with instrumental creativity; only in the two non-Elfman, Brazil-related cues and the wild ride of "History Mash-up" does he incorporate touches of unique sound. The choir isn't frequently called upon in this work, but when it does contribute, the score shines. The conclusions of "Off to Egypt" and "The Wedding Exodus" are fantastic examples, the former punching at David Arnold's Independence Day and the latter forcing Hans Zimmer's The Prince of Egypt and Maurice Jarre's Lawrence of Arabia into one monumental closing statement. Thematically, the score remains very loyal to its primary idea, adapted into several scenarios and emotional variants between "Mr. Peabody's Prologue" and "Reign of Terror!" at the start of the score. All of this is well handled by Elfman, but the theme isn't catchy enough to really sustain the score, and the impression it will make upon you is one defined by the style of the music's movement rather than any one motif. The album presentation is an enthusiastic and consistent experience that will entertain any hardcore Elfman collector (spot the quick Batman Returns allusion in "The Drop Off") but without a better-wrapped narrative, it's difficult to award this score the four stars that it may support. That album includes a few source songs (but not the Peter Andre one from the end credits, oddly, causing fangirl consternation) and a dialogue track. It's undeniable fun, but not memorable once it finishes.  ***   @Amazon.com: CD or Download