[6][7] It was remotely done with a 100-member orchestra with director Colin Trevorrow supervising the music sessions online, due to the COVID-19 pandemic.

[13] The score was conducted by Cliff Masterson, Ludwig Wicki and Alfonso Casado with orchestrations provided by Jeff Kryka, Curtis Green, Mick Giacchino and Jennifer Dirkes.

[14] Collider.com reviewed that "Giacchino blends his usual lush orchestration with some unexpected electronic touches, making for an energetic introduction to his new score.

And while it doesn't tip its hat to the iconic Jurassic Park theme, it does conclude on a familiar note.

"[22] Zanobard Reviews gave 8/10 to the score saying "Michael Giacchino's score for Jurassic World Dominion closes the musical book on the iconic dinosaur franchise in the best way possible really, bringing pretty much all of the established Giacchino and most of Williams' thematic material together with now even more new themes, resulting in an expansive orchestral tapestry that manages to stay entertaining pretty much throughout its entire two hour runtime, which is no easy feat.

"[23] James Southall of Movie Wave wrote "Giacchino clearly thrives on working on big franchises and it's so good that he's had the chance to see this sequel trilogy through.

The narrative development of the score is such that no moments ever feel wasted or superfluous; the progression of the themes in a dramatic sense is excellent, especially the way the Biosyn theme gradually leaves its 'ooh-aah' initial feeling as the protagonists fly over the mountains, and becomes more sinister as Dodgson's plans are revealed; conversely, the way the Fallen Kingdom theme gradually becomes redemptive for Dr Wu feels like vindication for the man whose genetic experiments caused all this mayhem in the first place, but who eventually turns to to[sic] be the man who will save the world.

"[25] Filmtracks.com wrote "So much of Jurassic World: Dominion is generically rhythmic, even its heightened action material, that it really doesn't fit comfortably with its sibling scores.

[28] Mark Kermode of The Guardian said "As for composer Michael Giacchino, he seems to have the mundane measure of it all, trowelling on the "piano-says-sad/strings-say-exciting" motifs in solidly indifferent workaday fashion"[29] and Matt Zoller Seitz of RogerEbert.com opined that Giacchino's score "pours on sinister Arabic-African "exotic" cliches".