Not surprisingly, Bacon's template for M3GAN 2.0 merges an orchestra with synthetics in conventional and sometimes distorted, over-processed fashion. The organic elements of the recording are convincingly real and convey some minimal amounts of heart for the flesh and blood characters, a distant piano representing the emotional core in the largely menacing overall tone. Occasionally interesting woodwind usage occurs now and then, especially in "M3gan's Lair," but don't expect too much complication. The synthetic parts degenerate into pure manipulated noise more often than necessary, as in "The Asset," "Wingsuit," and "Self-Destruct Initiated." The electric guitar at the start of "Final Confrontation" is extremely annoying, and some of the grating, pitch-altering tones emulate Benjamin Wallfisch's tougher styles. In fact, the entire mix sounds like leftovers from John Frizzell's early 2000's thrillers and those 20 years later from Wallfisch. On the upside, pieces of tonal fantasy and dramatic flourishes litter the early cues even if they never sustain themselves. The end of "Ghost in the Machine," for instance, shows such unrealized promise. The quasi-choral ambience in the finale's cues is appreciated in concept but a bit unconvincing in rendering. Bacon's themes aren't really all that effective, either, because they lack memorable expression. He wrote several new ones to join a stinger-like set of rising pairs of notes for horror scares, as in "No One's Play Thing." His main new identity for the concept is a series of six notes that twist around the same general progressions. Defined lightly in the latter half of "M3gan 2.0" on awkward keyboarding for the character, the idea gains some brass resonance over hip synth beats at 0:42 in that cue. Returning on its native, celeste-like tones on top of anxious synth and string pulses in "M3ch M3gan," this main theme schemes early in "The Motherboard," worries on cellos in "The Plan," adapts for digitally mutated suspense in "Xenox Park," and is extensively fragmented in the slashing action of "Wingsuit" that seems to want to let loose with superhero force but cannot. It's rhythmic in formation during "Failed Pairing," mingles with secondary material in "Exo-Fight," and finds its early keyboarded mode again for a moment to open "M3gan, Take the Wheel" before switching to obnoxious techno bombardment.

Bacon's use of the main theme for M3GAN 2.0 is especially disappointing in the score's final scenes. It supports the chopping darkness early in "Self-Destruct Initiated," mirrors the secondary drama in its angst at the height of "Because It's Right," and taunts the middle of "Allies, Not Enemies," but the identity never really prevails with a satisfying rendition at the end. (One could argue that it's more appropriate as minimized, given the artificial character's reliance upon backup copies of herself for survival.) The secondary thematic material in Bacon's score handles the dramatic duties. Built with descending four-note sequences of marginal hope, you can sense some tender inclinations from these passages but not much more. This squishy material interrupts the militaristic ambience late in "The Asset" for some string appeal, briefly factors in the first half of "Excess Baggage," quietly stews with piano and strings in "You Don't Have to Hide," and guides the ambience near the start of "Moxie M3gan." After applying its chords to build the suspense in "M3gan's Lair," it elongates as a rhythmic device late in "The Motherboard," takes a frantic turn in "Betrayal," meanders in light orchestral fussing in "These Are Gym Muscles," and rolls on cellos at the outset of "Exo-Fight." This dramatic portion does thrive late in the work, where it boils over to the action of "Final Confrontation," informing a choral-aided fantasy burst, and achieves some disturbed, nearly tonal peace for a moment in "Because It's Right." The idea then attaches to its warmer variant in "Allies, Not Enemies." That deeper mode is defined in its own four-note phrasing during "It's Called Being a Mother" and strikes similarly attractive poses on strings in "Allies, Not Enemies," where it closes the cue in dramatic fashion with the full ensemble. Concept purists wanting to hear Willis' theme for the lead character do receive its descending three note figures at times here. Following a cameo-like appearance at 0:35 into "Excess Baggage," the theme is strained at 0:10 into "You're Just the Help" in a much more cohesive rendition. It then morbidly opens "Betrayal" on low strings and switches to menacing brass in the middle of "Unarmed" for more power. In the end, though, the score for M3GAN 2.0 won't be remembered for its themes, as nothing new in its ranks can rival the prior work's highlights. Bacon has basically sufficed for this assignment, but the music isn't particularly interesting or accomplished in any distinctive way. The result is a disappointing turn towards the mundane.  **   @Amazon.com: CD or Download