It's a cool track, but now the entire trailer is MoS and the video doesn't support that. I would put a bunch of that back in and I think it will really come to life.

I would just re-do all the effects and mix it with the music you made. Should be pretty cool when it's done.

There are three acts in this trailer (and in almost all trailers since the late 90s). Act I is the funeral scene, Act II starts at around 46 seconds when the boy becomes a recruit. Act II is rising action, this persists as the boy goes through bootcamp and into battle and the stakes grow higher and higher. The transition into battle is called the MidPoint. The Midpoint is the part of the story (and the part of Act II) where S*** just got real. The climax for this act and the transition into act three actually begins at around 1:43ish, where there's a massive tonal shift in the story and we think this could be the end for the main character. The climax lasts about 10 seconds or so when the bad guy is killed (unfortunately randomly, which is just terrible story telling) and we get our final, mirroring image of the main character as a much older man overseeing a funeral on the field of battle. This is Act III. Each act should have a serious mood shift--it could even feel like new pieces of music--and in real trailer work, it often is a new piece of music.

Your current piece struggles to support these shifts, especially in the beginning when you begin action drumming at the funeral and the mood on screen and the mood in the music are at complete odds with eachother.

Act III you go for a new solemn sound, which is fine, but it doesn't take advantage of the mirrored imagery and the opportunity for you to say something about that character's growth during the story. What does the funeral mean to him now that he's older and scarred from the war--a far cry from his original, innocent looking origins--what does it mean for him when he looks over to the much younger subordinate who looks a lot like he did when he was at that first funeral?

Say this with music.

Sure thing! Common Hollywood three act structure is really important to understand when doing music to picture. Check out Blake Snyder's Beat Sheet (BS2) for a break-down of the common block-buster story arc.

It has been adhered to quite strictly (for better or worse) for the last 10 years or so in almost any major Hollywood picture and this includes trailers.