[2] In 2019, a 2-disc limited "expanded edition" was released through La-La-Land Records featuring the full score as heard in the film, along with several alternate and unused tracks as bonus material.

For Minority Report however, his entry was delayed as he was scoring for Star Wars: Episode II – Attack of the Clones, and joined the film when it was nearly completed, leaving him minimal production time.

[11] Some of the other choices, such as Gideon's playing of "Jesu, Joy of Man's Desiring" by Bach on an organ in the subterranean prison, were also in the screenplay, and he figured that "They are some writer's conception of what this character might have listened to.

"[11] James R. Oestreich in The New York Times characterized the score as "evocative" and said it was "thoroughly modern" while also being "interlaced with striking snippets of masterworks", including the "lopsided waltz" from the second movement of Tchaikovsky's Symphony No.

[11] The soundtrack opened to mostly mixed critical response, praising Williams' composition, orchestration, and the approach done for the score, but criticised the predictability on the tunes, and heavily reliant on incorporating other composer's work.

[12] He added that "the tone is simply not natural for him, and he falls back on stereotypes that sound like they come from movies from the '40s and '50s" while also interpreting on his inspiration from composers John Carpenter and Philip Glass in creating discomfiting effects.

That is a shame, because with the talent that the maestro had displayed on a regular basis, as well as the constraints of conventional sequel scores, it was disappointing to hear him miss an opportunity to go off on a wild excursion into the musical unknown.

"[10] For the expanded edition, the review further stated "The additional, technically proficient but cold material passes by without the gripping depth of emotion that we have come to expect from Williams, and the interesting references to [Bernard] Herrmann's work and periodic bursts of riveting action are somewhat diluted by the pleasantly positive finale meant to satisfy Spielberg's need for hopelessly optimistic Hollywood endings.

Artificial Intelligence (2001), female vocalists as well as the oriental drumming in the brief moments, which led to compare Tan Dun's approach in the score of Crouching Tiger, Hidden Dragon (2000).