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I've been listening to this score OVER and OVER again all week. Its stunning, the most melodic score Doyle has written in YEARS, it reminds me of his 1990s highlights, the main theme is breathtaking, and he does infinite variations on it throughout. The other themes are also lovely.
Interestingly, his main theme also has vague echoes of one of my favorite scores of the last decade, Nick Cave's achingly mournful score to THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, I almost wonder if they might have temped the film with that score. Nothing sounds overly note-for-note similar, it's just a vibe they share, and the simplicity.
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I like it too, it has that sweet melancholy that he's so good at. And I like the song! But then I also liked his score for 'Murder on the Oriënt Express' very much.
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Things like ORIENT EXPRESS, CINDERELLA, THE EMOJI MOVIE or BRAVE have several good tracks, but it's been a long time since I've heard such a consistently good score from Doyle throughout, and with a melodic sentiment that harkens back to his 90s sound. LA LIGNE DROITE from 2011 was the last time I liked a WHOLE Doyle album (even though that is in a very different style than ALL IS TRUE).
What a coincidence, I only just bought La Ligne Droite two weeks ago and while I think it's pretty good I must admit that I absolutely adore CINDERELLA. Another thing I like about ALL IS TRUE is its brevity. It's a nice short score which I find refreshing among all the 70+min scores these days.
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A very fine score by Doyle, much like his works with Brannagh in the 90s
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In a way this lovely score makes me sad, because it reminds me that composers like Doyle and Desplat and so many others are capable of writing rich melodic scores like this, but are constantly having their hands tied behind their backs and being ordered to write wallpapery soundscapes, because they're more in fashion right now. 
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Feeling a bit lost in this thread. I'd argue Cinderella and Orient Express are Doyle on top form - with scores like The Emoji Movie and United Kingdom being Doyle through and through.
Cinderella and Orient Express are lovely, as are the other two, but they aren't the kind of scores he used to write in the 90s, dominated by a couple of hummable/earworm themes, which recur over and over in almost every cue, and where whole cues consist of those themes being reworked in different variations for minutes at a time. That's the Doyle I fell in love with, and who has been virtually absent for a decade, except for La Ligne Droite, as mentioned above.
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