From the 30 second clips, this sounds about on par with Elfman's score. It seems like both composers were directed by the filmmakers to write a "1990s genre film score," and like the former entry this sounds more lively and colorful than the typical contemporary Hollywood family film score.
Man, WHAT a great score. Great orchestral writing, especially great brass writing (actual writing, not just the sadly typical, we're going to add brass by having them double whatever is going on elsewhere approach). Great use and development of Danny Elfman's Goosebumps theme (more-so, I would say, than actually happened even in the first actual Goosebumps score). The rest of the writing compliments and builds upon it, and while I'd say that DE's theme is still the most memorable thing here (the Slappy theme is pretty fun but reminds me of something else), it isn't night-and-day different like other sequel scores attempting to do this, it all supports and fits. This is where, I feel, this score succeeds in exactly the way Jackman's Predator failed for me--Lewis' writing is more than up to the task of taking an Elfman theme and running with it IN THE SAME ORCHESTRAL STYLE so that it feels organic and like he knows what he's doing. Above all this score is FUN! Some really stand-out tracks I've already listened to on repeat are: Witch, please! and Allegro con spirito (Final Confrontation?).
Highly recommended. Along with House with a Clock in It's Walls, this for me is another unexpectedly original and well-crafted spooky score. Elfman is still the king of main titles themes you can hum, but I find myself wishing he and Lewis would ACTUALLY collaborate on a score, as opposed to the people he's currently utilizing for additional music.
The first Goosebumps score was a fun score by Elfman, this one is same thing: a fun and nice score with a great writing (Lewis proof that in Peter Rabbit, altough like his work in The Man In the High Castle)
PS: Barr's work in The House with a Clock in its Walls, highly recommend.