Wow. I like it. Very nice.
Here's a few notes on the soundtrack if you don't mind me writing them:
Last footstep of the kid in the white shirt should be a scuffle. Right now it's a regular footstep and sounds odd.
When he says "danny" I hear a ton of small-room reverb on it. Was this ADR done in a small room? Try moving the mic a bit tighter or going outside in your backyard to record it.
You have a wrong sound for the mercedes door. What is in the mix sounds too metallic and too much like a old 60's car. Newer mercedes have more of a "thump" when they close. Make it sound expensive.
Add a bit more foley for the box. Make the latches more crisp and expensive-sounding. It's a main character of the story, the box.
Make the drop down on the cement landing bigger. Add some rubble afterwards.
If I were supervising and mixing the sound, I'd ask for the score to fade to nothing after he lands to add tension. I'm talking 0 volume and nothing playing - dead silence until the first gunshot he fires. Then pop a reverse reverb on the first gunshot he fires.
Add a nice outdoor slap echo on the guns. The scene takes place next to the outdoor wall of a big warehouse. Do yourself a favor and walk up to a big building like that and yell at it. Make loud noises, clap like a gunshot and see how it sounds. There is a very distinct slap-back to the sound which I would like to hear there. More realistic and will make the guns fit more in the scene.
I'd like to hear more foley from the guys running and such.
The gun bullet and bazooka when they are in slow-mow, time shift the effect of the rocket or jet that you have in there so they are also pitched down and also add in a really low rumble. This is a great opportunity for that. Your reference is the first bomb in The Hurt Locker, there is an awesome low frequency effect that gets added when it is very slow-mow and it works great for those matrix-y type shots.
There was no body fall for the guy who gets torched.
Add in a nice little whimper/grunt for the guy hiding behind the box. Make him more wimpy and pitiful.
Again, there is a great opportunity for the score to go sparse when he's waiting to be shot in the forehead and then the gun turns to his handcuff. Right now the score is too much like a track from an album. It starts and it goes and goes. I'd like to hear it ebb and flow. Watch the Matrix - even the tracks in the fighting scenes stop for big dramatic events like what I am talking about here.
If I were shooting, I'd zoom in on his eyeball behind his glasses so you don't see anything except his eye behind the shades when the gun goes off and therefore the flash reflection of the gunshot is bigger in the frame and more dramatic and there is more feeling of "what happened? Did he get shot in the face or...?"
Otherwise it looked great and I like the sound - very professional. That is just the extra detail I'd put on it if I were doing the job. It's what I do for a living here in Hollywood.
I loved the plastic-band casio the bad guy is wearing, too. lol.