Elfman's approach to Men in Black: International is largely the same as that for Men in Black 3, which entails a predictable result. He remains intensely loyal to his original set of themes for the concept, the underlying chopping string motif, the accompanying electric base accents, and the octave-hopping brass theme over the top joined by hip percussion and ultra-cool electric guitar performances. The opening and closing cues of Men in Black: International in particular offer several well-rendered performances of the main thematic core of the franchise. Elfman rarely develops these ideas outside of their expected arrangements, the latter half of "Red Button" presenting the closing crescendo of the idea incredibly faithfully. The idea is exercised by an especially wide range of funky synthetic noises in the opening "Logos." The score concludes on a Mars Attacks!-sized finale for the main theme in "End Credits." There is no theremin in this entry, but the choir is back as always, and you'll often hear it exhaling away with the beat of the main theme. Outward fantasy occasionally prevails, most prominently in "Like a Son." The secondary theme for agents "J" and "K" from the previous films returns here as well, functioning as the sentimental interlude on acoustic guitar for the two new agents in "I Found You" and "Promotions." The fully orchestral performance of the theme to close out the latter is a familiar but nice touch. Unlike the previous entry, Elfman did decide to add a single new theme for Molly Wright ("Agent M") in this film since she is the ultimate newcomer. Don't expect the fresh material in Men in Black: International to overwhelm you, however. The only really impact presence of the new thematic exploration comes in the solo boy expression of the theme in the tested Elfman technique that reaches back to Beetlejuice. You can hear this idea at the opening of "Here Comes Trouble," substantially in "Blue Giant," on woodwinds in "Ah, Paris," and at the end of "The Truth." On the negative side, Elfman infuses some truly insufferable action and character cues into Men in Black: International, led by the trio of "Viper Room," "Twins," and "Who's That Guy?" By the end of "Where's the Weapon?," it seems that Elfman has attempted to channel the techno atmosphere of David Arnold's Die Another Day. Still, there are enough pleasant non-surprises in Men in Black: International to recommend the score to fans of Elfman's prior work for the franchise. The album does suffer from a terribly flat and dry recording mix, but that's in line with the predecessors. The work is a sufficiently competent and enjoyable supplement with about fifteen minutes of truly worthwhile material.  ***   @Amazon.com: CD or Download