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A friend saw the film and said that he liked Desplat's score and his performance (he has a couple of scenes with Matt Damon).
No wonder the score is getting some bashing. After the hate on Philomena and getting nominated for an Oscar, looks like some critics might started to turn against Desplat. Same reason of why the film is getting bad reviews, Clooney wanted a truly old fashioned film and score.
At least The Grand Budapest Hotel is getting great reviews with some of them praising Desplat's score.
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I've just listened to that 10 minute suite above and I think something has gone wrong here.
That CANNOT be from a Hollywood film released in 2014!!!
NO
WAY!
(I think somebody at youtube has linked a film score from around 1892 by mistake and attached it to that Monuments Men poster. I'm sure youtube will fix their mistake soon) 
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I played it once and I'm whistling the Main Theme already!!! WTF!
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Now I'm wondering how different the score and film would have been if it wasn't for the delay. Because if Clooney wanted to delay the film so the CGI and the score won't felt rushed and cheesy, it could've been much more worst.
The irony is that Desplat proofs that he can write huge orchestral scores, but his scores get stuck in the dark.
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I can't stop playing that 10 minute suite. It's the best new film music I've heard in ages.
I'd gone a bit cool on Desplat after his tepid Harry Potter scores but this score seems to be
the wake-up call I needed from him.
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The music for The Monuments Men wouldn't have worked at all in the last two HP films. That only proofs how these people think that Harry Potter was a generic american fantasy franchise and that needed an equally generic and american score (like the first two scores). Desplat had some cues with a little comic side (Polyjuice Potion, Dobby, Detonators, the second half of Fireplaces Escape) and some of the trademark instruments of the scores (celesta, recorder, glockespiel), but these we're subdued, given the nature of the story of the book. The last two films we're dark and emotional, and not childish like the first four films. Even the tracked cues from Chamber Of Secrets we're out of place in HP8 because it robbed the opportunity to let Desplat to score these scenes first, instead of giving to fanservice to these people who only care about Williams.
Try to have a scene like Courtyard Apocalypse or the final fight between Harry and Voldemort scored by a bombastic, over the top orchestra instead of the emotional and cathartic cues that Desplat brought and made people to realize that it was business.
Desplat even channeled some of the action and suspense material from Williams's Minority Report (the screeching woodwinds on Underworld reminds of Anderton's Great Escape) and War of the Worlds (Bathilda Baghsot and Destroying The Locket has the ugly muted brass for the Tripods). So that kind of score would have got even if Williams would have done these.
But I do think that it would have been better for Desplat if he did HP5 and 6. He redefined in Deathly Hallows the musical landscape of the franchise, supporting new types of instruments, colours and themes that didn't get to have a lot of use because part 1 was mostly, Harry, Ron and Hermione in the run, and part 2 was a war film. The two previous films had a lot of new characters, revelations that changed the story of the franchise and foreboding the last films.
If anything, some parts of Rise of the Guardians would have fitted on the first HP films. The score was quirky and fun, but it was also emotional, complex, and inventive. And most of all, Desplat already being a fan of both the books, the films and the scores (unlike Doyle and Williams) would have understood better the story of the first books and films than Williams (though given how inspired and fresh POA was for the franchise, it could have been Columbus's fault after all). Also, the people of Jwfan only hated the scores because it wasn't Williams who wrote them, otherwise they would have loved it.
And also, don't blame on temp track. Desplat's scores sound nothing like TDK or 28 Days Later. Order of the Phoenix and Half Blood Prince we're tracked with Williams music from POA and that didn't affected Hooper's scores.
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What can I say...this is a magnificent score. I've been playing this non stop since tuesday and it just keeps getting better. I think it has at least four (!) themes and Desplat varies them beautifully. Contrary to 'Jack Ryan', one HEARS the LSO and the score just puts you in a good mood. A serious contender for best score of the year and there's a lot more Desplat to come.
4,5/5
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Wow! This sounds like something John Williams would have written in the mid 80s. It's hugely thematic, really present in the film with big swelling strings and crashing brass. It's not the musical wallpaper most scores have become. So glad Clooney allowed Desplat to write something without restrictions. It's stunning.
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