[2] Hildur replaced Branagh's longtime collaborator Patrick Doyle, who had scored the film's two prequels, Murder on the Orient Express and Death on the Nile.

[3] Hildur grew up reading Agatha Christie novels,[4][5] and already had a "strong idea" about how she felt the genre would sound before she signed on to score the film.

On the other hand, in the post-war period, Hildur switched to an atonal sound to accompany the sense of "rebuilding the world" after the war.

[8] Hildur's score received positive reviews from film critics, with Ann Hornaday of The Washington Post complimenting it as "elegiac".

It’s not interesting from a musical point of view, it doesn’t offer anything new or challenging – in fact, this is an example of [Hildur] staying very firmly within her cello texture comfort zone – and the album listening experience comes close to being boring.