The tone of the music in Captain America: Civil War differs from that of The Winter Soldier in that the emphasis rests more on truly authentic-sounding orchestral elements, despite the composer's statements that the industrial elements of the preceding work would be a guidepost. There was turnover in the assistant composers (affectionately known as ghostwriters at this site) between the two works, which could explain some differences. The electronically hideous material for Winter Soldier returns in the first cue but, fortunately, the organic elements prevail for much of the remainder of the work. In fact, that character's thematic translation to strings in "Adagio" is a bit bizarre in its resemblance of Ennio Morricone's The Thing. Captain America's theme, albeit Jackman's version and not Silvestri's, does return, highlighted by the score's pinnacle in "Cap's Promise," and, like the previous score, expect Silvestri's snare-slapping style (a la Judge Dredd, really) does inform these performances for basic continuity. Other than minor nods to prior Iron Man and Avengers motifs, expect nothing to satisfy you thematically the way Tyler and Elfman did in Age of Ultron. On the other hand, Jackman does conjure a variety of new themes for this score, the most cohesive of which existing for the film as a whole (the "Civil War" theme is a descending series of phrases summarized wholly in the cue of that name and thereafter) and for Spider-Man (whose idea in "A New Recruit" and "Larger Than Life," among others, vaguely resembles the strings of Elfman and brass of Zimmer). A new theme for Iron Man, as if one was needed, seems to develop in "Making Amends." There are also minor motifs for Black Panther and Zemo that have little overall impact. The issue with Civil War is that none of this material comes together in a truly cohesive way, yielding minimal summary personality outside of its individual components. Whereas Age of Ultron was a distinctive score (largely due to Elfman's contributions), Civil War is strictly procedural and businesslike, with little passion in its instrumentation or recording. If The Winter Soldier was minimally acceptable because it bored you rather than being as obnoxious as it could have been, then Civil War will bore you just a little less while dispensing with most of the synthetic detriments of the predecessor. There remains nothing memorable from a score like this one, its new themes mundane, its orchestrations lacking intrigue, and its disposal of existing franchise themes nonsensical and dissatisfying. While a modest improvement within Jackman's sphere and thus barely earning a third star, Civil War is hapless, soulless music devoid of loyalty, mission, or aspiration.  ***   @Amazon.com: CD or Download