Good job using the three legacy themes (maybe four? I buy the Qui-Gon quote) when you did, but it redeems nothing. This score was a train wreck for which Williams and Ross tried to lay across the tracks in the final two weeks, but even they couldn't save it in that timeframe. Chow (and maybe Holt) grossly misread the needs of the project, and if I had to guess, I'd guess Kathleen Kennedy saw the writing on the wall and got Williams involved. Think about it. Powell says Williams was on board Solo before he himself was. If his arrival on this show was anything other than a rescue mission, they would have been hyping it for months. That his theme was used so liberally testifies to what a snot bowl the existing score must have been.
But back to the sudden reveal of the 3.5 themes. (I don't count the "Hyperspace" quote. That was just kind of odd, given the rest of the score—like someone's amnesia cleared up temporarily.) Saving lush and beloved melodies only for the final appearances of each character isn't intelligent and restrained; it's inane and self-defeating. The point of writing melodic leitmotifs is to enjoy the melody while it's playing and associate it with the characters and situations it describes, both as the story unfolds and when you hear it again outside the work—not to salivate over chords and note pairs that may or may not be leading somewhere familiar. (This can work, as in Rogue One's mid-movie Leia reference during Bail's dialogue, but noticing it shouldn't require Robert Langdon levels of scrutiny). If the score didn't touch any other themes but the Force, Vader, and Leia—heck, even if it reserved those themes for the biggest moments, and even if they were orchestrated in some simplistic Holty way—it still would have been better than what we've been doing for five weeks, basically licking traces of snot from the corner of the bowl and speculating that it tastes a little like Leia's theme.
And yes, if the themes were present but poorly executed, we would be absolutely complaining about poor orchestrations of legacy themes, but only because in that corner of the multiverse, it would never even occur to us that someone could score a big moment for a legacy character with anything other than the character's theme. The complaints here aren't hypocrisy; they're a testament to the mind-bogglingly misbegotten approach that was taken on the first draft of this score.
I have never been so eager for an immediate re-score of a project than I am for this. Sheesh, somebody start a Kickstarter. I have no idea how I might have reacted to it with music that was more in the Star Wars wheelhouse. It probably would have covered a multitude of sins of plotting and acting.
After this mess, the whole of Star Wars fandom owes Michael Giacchino a gigantic apology.