[3] The main concern was to have the music help progress the plot in the scenes without dialogue, for instance, conveying the emotions of Caesar's relationships with Will and Charles.

To turn the score into a "driving force that keeps audiences paying attention," Doyle employed an African-American chorus and focused on percussion and "low and deep" orchestra sounds.

The album isn’t consistently outstanding – a few tracks I haven’t mentioned in my commentary above don’t really add too much – but is quite a thrill ride, proving Patrick Doyle’s more than got the chops to play at the top table even in modern action movies.

"[7] James Christopher Monger of AllMusic wrote, "Doyle, who comes from the Hanz Zimmer and Harry Gregson-Williams school of big and bold and percussive action cues, allows little space for the reboot to breathe, yet his themes are consistently thrilling, rarely devolving into the kind of generic, tuneless smorgasbord of kettle drums and dissonant keyboard strings that so often pass for 21st century summer blockbuster fare.

[9] David Edelstein of Vulture wrote Doyle's "typically stupendous score sweeps aside the absurdities"[10] Credits adapted from CD liner notes.