The orchestral ensemble is taxed and embellished in much the same way you remember from the composer's early days of wackiness, the composer's knack for ripping through harmonically incongruous, stomping chords of demented character still unmatched in the industry. Anyone who thought 2012's Dark Shadows was the closest Elfman would return to this realm was mistaken, and it could be said that Goosebumps suffers as a listening experience compared to Dark Shadows as a result. The instrumentation is the same, with a regularly-sized orchestra joined by a few token accents like a theremin, choir, and occasional woodwind solo. Expect wild xylophone moments as well. Passages of prominent deep woodwind and percussion presence, as well as obvious piano placement (all of which perhaps best conveyed in "Credit") are reminiscent of The Nightmare Before Christmas as well. The tone of the score alternates between three modes: the outright carnivalesque, the pleasantly character-based melodies, and the somewhat anonymous suspense sections. The first and second portions of the score are afforded themes by Elfman, the concept as a whole generating a quintessential theme from the composer that combines influences from various march and waltz mechanisms into a slightly jazzy atmosphere to yield an over-the-top, chime-banging, tuba blurting identity that may be difficult to grasp in its actual melody. Look for the primary ascending and descending five-note phrase to emerge, especially late in the theme's formal arrangement in "Goosebumps." The character theme for piano, woodwinds, xylophone, and light string rhythmic backing is introduced in "Ferris Wheel" and follows the children throughout the film's conversational moments. It's completely non-offensive but rather forgettable compared to the heart that Elfman is capable of conveying in such situations. It has none of the resonance, for instance, of his familial theme in Real Steel or the equivalent in James Horner's Casper. The suspense material uses textures adequately and references snarling orchestrations from the action sequences that borrow portions of the main theme liberally. At times, as in the latter half of "Capture," these passages are quite impressive, but the pace of the film doesn't allow for much sustained mood or development in this or any other section. Thus emerges the downfall of Goosebumps: the score's lack of clear narrative development. It's a large-scale collection of Elfmanisms that parade by without any meaningful movement from point A to point B. Perhaps that should be expected from a score with three additional composers and seven orchestrators. Still, the whole will please enthusiasts of vintage Elfman zaniness, especially in its nicely divided album presentation.  ***   @Amazon.com: CD or Download