The score was recorded at Synchron Stage in Vienna,[2] and made use of conventional classic instruments, suiting with the film and its theme, and not being inspired or modified from the incorporated songs used in the soundtrack album.

The original score is composed by Fennell's high school classmate, Anthony Willis, who previously assisted as an executive producer to John Powell.

[8] Dennis Harvey of Variety said that Willis' score is "puzzlingly conventional and earnest, complete with ominous Dolby thumps every time justice is served".

[9] Sophie Kaufman of Empire said that the "tonal breadth plays out in the clash between a sugary pop soundtrack, versus Anthony B. Willis' original score: a low, groaning rumble punctuated with juddering drum-bams that never lets you forget the other plotline lurking beneath.

"[10] Sight & Sound's Kate Stables reviewed, "Punchy but on-the-nose music choices accentuate this – a car-battering headily jacked up with Wagner's Liebestod, and Anthony Willis's score emitting ominous uh-oh thuds at tense moments.

"[11] Peter Bradshaw of The Guardian, in his five-star review, called Willis' "ruthlessly effective musical score underlines both the horror and the sadness".