Jilal

Went to see the movie with my stepfather, thought that'd be a nice thing to do together. My experience was completely ruined by a bunch of arrogant little brats right next to me who couldn't shut their mouths for one damn second and were so damn caught up scrolling through their friggin' Instagram feed they probably saw diddly-squat of the actual movie ... Where is Anakin when you need him?

Sorry man. That really blows. 

Those three tracks have everything you want to hear in a score: drama, tension, excitement, action, pathos, beauty, cool use of themes, interesting orchestration.
 
An incredible 10 minutes of music. Bravo Maestro!

Went to see the movie with my stepfather, thought that'd be a nice thing to do together. My experience was completely ruined by a bunch of arrogant little brats right next to me who couldn't shut their mouths for one damn second and were so damn caught up scrolling through their friggin' Instagram feed they probably saw diddly-squat of the actual movie ... Where is Anakin when you need him?

Went to see the movie with my stepfather, thought that'd be a nice thing to do together. My experience was completely ruined by a bunch of arrogant little brats right next to me who couldn't shut their mouths for one damn second and were so damn caught up scrolling through their friggin' Instagram feed they probably saw diddly-squat of the actual movie ... Where is Anakin when you need him?

Battle of Syracuse is such a cool track.
 
Some things I really like: the ominous opening chord, the TLW-ish thumping motif and its orchestration (I think I'm hearing a synthesized prepared piano?), the many tritones, the wild chromaticism at 0:37 (which kinda reminds me of Howard Shore's The Doors of Durin) and in particular 1:16–1:30, which is one of my favorite bits of the OST.

Now that you mention Alex North, I realize it vaguely reminds me of Leonard Rosenman's music for the ape soldiers' marching in Beneath the Planet of the Apes as well, but apart from the thumping motif and the synthesized prepared piano there appears to be little resemblance.

Battle of Syracuse is such a cool track.
 
Some things I really like: the ominous opening chord, the TLW-ish thumping motif and its orchestration (I think I'm hearing a synthesized prepared piano?), the many tritones, the wild chromaticism at 0:37 (which kinda reminds me of Howard Shore's The Doors of Durin) and in particular 1:16–1:30, which is one of my favorite bits of the OST.

Battle of Syracuse is such a cool track.
 
Some things I really like: the ominous opening chord, the TLW-ish thumping motif and its orchestration (I think I'm hearing a synthesized prepared piano?), the many tritones, the wild chromaticism at 0:37 (which kinda reminds me of Howard Shore's The Doors of Durin) and in particular 1:16–1:30, which is one of my favorite bits of the OST.

Battle of Syracuse is such a cool track.
 
Some things I really like: the ominous opening chord, the TLW-ish thumping motif and its orchestration (I think I'm hearing a synthesized prepared piano?), the many tritones, the wild chromaticism at 0:37 (which kinda reminds me of Howard Shore's The Doors of Durin) and in particular 1:16–1:30, which is one of my favorite bits of the OST.

Battle of Syracuse is such a cool track.
 
Some things I really like: the ominous opening chord, the TLW-ish thumping motif and its orchestration (I think I'm hearing a synthesized prepared piano?), the many tritones, the wild chromaticism at 0:37 (which kinda reminds me of Howard Shore's The Doors of Durin) and in particular 1:16–1:30, which is one of my favorite bits of the OST.

Battle of Syracuse is such a cool track.
 
Some things I really like: the ominous opening chord, the TLW-ish thumping motif and its orchestration (I think I'm hearing a synthesized prepared piano?), the many tritones, the wild chromaticism at 0:37 (which kinda reminds me of Howard Shore's The Doors of Durin) and in particular 1:16–1:30, which is one of my favorite bits of the OST.

Battle of Syracuse really is a great little gem. It's the closest Williams has ever gotten to scoring a swords and sandals epic. I do seem to hear some traces of Alex North, Tiomkin and maybe even Cordell in there. I love it

I'm  so worried about the fact that this might be Williams' last score!!! What would all those fuckface negative 'fans' do with their lives?! Seriously. 
From HP I have read so many comments about how JW has lost it, too old, cannot write memorable themes etc..  Almost a race, who will be the first to bash a new score. Get a life, start to listen to Trump's speeches or to analyse Hansu's scores. Or start to drink like me.

I've slightly lost the 'hey, this is good!' factor I got when I first heard it. I think I was mostly just pleased that this score doesn't have the massive problem KotCS has in its mid section.
 
I also think that generally, the action here is nowhere near as good as Williams used to do. He's got some very fun orchestration and melody in places, but the structure, build-ups and general excitement I get from (some random ones) Quidditch, Third Year or T-Rex Rescue just aren't here and it strongly feels to me like after the Airport/Syracuse cues, it just sort of stops without any proper resolution.
 
Tuk Tuk does have the nice action treatment of Helena's theme, but when it's not doing that it's just typical Williams zylophone and racing strings. There's absolutely zero new or unexpected going on here.
 
I guess I'm concluding that overall this is a fine job and has a sprinkling of moments where he came up with something really nice, but the man's 90 and is understandably using reliable, but very much trodden techniques for the most part.

Fragments of The Ferry Scene, The Intersection Scene and Attack on the Car are all featured towards the start of Act 3.

seeing the state of this and to the risk of being "downvoted" to oblivion and due to my impression that JW does this due a tired sense of obligation, i think i would have loved to see full-fledged collaboration between him and someone else on this.

As a diehard JW fan, the temp track love made the experience frustrating. Direct lifts from Minority Report, War of the Worlds, Tintin, and all 4 previous Indy films. I spent most of the film catching myself asking "where was that 3 second lift taken from?"
 
I don't blame JW in the slightest, of course. These are immensely complex and time-consuming scores. The fact we still got nearly 2 hours of original score isn't lost on me. If that meant lifting a few bars from other scores, so be it. At the end of the day, Helena's Theme is the hero of the score and it shines the brightest. It's surrounded by a plethora of kickass and totally original music; I just wish the lifts weren't as blatant.
 
Either way, much like the film, it's a melancholic affair. Knowing this is likely JW's final foray in film scoring. An overwhelming sense of sadness hit me during the credits, just sitting in a near-empty cinema wondering if this was the final time I'd ever hear new JW music in a theater. The film felt like closing a chapter in my life... and if that's the way JW goes out, then what a way to go.

I know we need to cut Williams some slack at 91, and we don't know what Mangold wanted *in detail*, but re-recording whole sections from the 80s films doesn't pass as "creating a feel of classic Indy", it's copy-paste. 
Whether the reason is radical rescoring because of editing, or Mangold wanting this temp rehash, or Williams simply not being able to do it at 91, the result sounds lazy.
It feels like one of those 80s Superman sequels that repurpuse large portions of Williams' original.

it's a mess!

It's lovely... but :28 is a great example of the temp track love that permeates the score, and it constantly takes you out of the movie.
 
Was obviously temped with this cue from KOCS:
 
 

prob my favorite use of the B theme of all time (until Sinister Visitors gets the proper release)
 
 

soso score, feels structureless and half photocopied

How unusual here at JWFan!

That's the Nazi theme from the Raiders. It's not new.