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Before long it enters rather villainous-sounding territory with Kylo Ren’s theme on brass, and then segues rather seamlessly into action with several short bursts of the Rebellion and Resistance motifs, with the latter then getting a fuller performance a bit later on. After it finishes up the score then really begins, starting softly with a light and rather mysterious-sounding woodwind instrument before the music dives straight into dramatic with loud and imposing brass accompanied by rapid backing percussion.

it hasn’t been rerecorded) which is a bit of a shame as I do like to hear John Williams try different takes on the opening, but oh well. Sadly, this particular version of the theme appears to be exactly the same as the one from The Force Awakens (i.e. The album begins (as most Star Wars scores do) with a loud and bombastic rendition of the main theme, this time housed in the somewhat unimaginatively titled Main Title And Escape.

So without further ado, let’s dive right in. While not quite as masterfully composed as The Force Awakens, John Williams’ score for the eighth entry into the Star Wars franchise still manages to be a highly enjoyable, thematically rich and ultimately Star Wars-y musical experience.Ĭontinuing the Star Wars sequel trilogy score reviews in the lead up to the conclusive The Rise Of Skywalker, this week I’m tackling the score for the somewhat…controversial eighth movie in the franchise – The Last Jedi.