-m1: I hear an F# instead of an E in the L.H. Also, I hear the R.H. here an octave higher.
-m2: You could maybe add the E and D# from the background synth-choir-ish voice in the L.H. on beat 1 and 3. The one on beat 1 can be a half note, but the one on beat 3 can be a quarter note since it's cut off by the D# on beat 4 anyway.
-m3-6: The bass notes here should all be E. You can use the B and A# in m5-6 as snare imitations then. The bass note on m6 beat 4.5 should be a B(n) though.
-m7 and other places: Anytime there's this R.H. rhythm like in beat 3-4, it should be a quarter triplet I think. However, that's really annoying to play with the bassline, so I'm doubting whether it's actually better to just keep it like that haha. You could compromise by just making it a quarter triplet when the L.H. is doing straight 8ths instead of the 16th rhythm like here in m7.
-m8 and 12: The D in the R.H. on beat 3 should be a B (below)
-m15-18: Same as in m3-6, bass notes should be E (also m18 beat 4.5 too here). Make sure to write the Bb's in m16 and 18 as A#'s, like in m3-6.
-m20, 22 and 24: Bottom B in the R.H. should be an A, which goes to a B on beat 3.
-m27-29: Bass notes should be E once again
-m30: Surprise, here the bass notes are D#!

-m31-34: Bass notes should all be C#. The D# on m32 beat 4.5 should be G#.
-m32 and 34: You can write the Gn's as Fx's (because they lead towards the G#: in C minor, it would be F# to Gn, but in C# minor everything gets another sharp)
-m31-36: I don't specifically hear the melody doubled an octave above, but I do hear a quieter flute line a 6th above (which you could also write a third below, so the melody isn't in the bottom voice)
-m38: Cn should be B# (leading tone towards the C#). Also, I think it might sound better to have the L.H. in beat 3-4 just play the bass notes (G# G# D# G# G# (last one up an octave)), instead of trying to add the drum fill in as well
-m41: I hear some C# in beat 3-4 in the R.H. rhythm as well (actually up an octave, but best to keep it below the melody here too)
-m42: Cn here should be B# too, same reason as m38.
-m44: Gn in the R.H. should be Fx (leading chromatically towards G#). Also, if you decided to write the rhythms before as quarter triplets, this rhythm should look like this:

-m46: Another Cn that should be a B#.
-m47-62: I imagine this is mostly the part where you couldn't hear the chords? The (synth) brass parts seem to just be playing chord tones underneath that don't have a particular melodic phrase, so I'll just tell you the chords and you can decide how to put the chord tones in. I hear the melody up an octave too btw.
Spoiler
47: C#m
48: G#m
49: A, B/A (so B major with A in the bass)
50: G#m7, C#m
51: D#ø, G#7
52: C#m, C#m7/B
53: A#dim, D#7 (D#, Fx, A#, C#)
54: G#
55: C#m
56: G#m
57: A, B/A
58: G#m7, C#m
59: D#ø, G#7
60: C#m, C#m7/B, A#ø
61: A (maybe add a courtesy accidental to the L.H. here?)
62: G#sus4, G#
I hear the melody an octave higher here btw. Also, make sure any Cn's here are B#'s too.
-m53: The jump up from the low octave D# in the L.H. to the octave G# in the next bar is a bit big, maybe you could raise these D#'s up an octave?
-m54: The accents on the snare drum are on beats 1.5, 2, 3.5 and 4 (instead of 2, 2.5, 4 and 4.5). Maybe you could do something like this instead?

-m58-59: Make sure to remove some of the harmony notes in the L.H. here, since they don't really belong here.
-m63-68: I hear this in the R.H.:

-m66: You might wanna put the new R.H. and the violin run here in the same layer, since you won't be able to hold the low 5th at the same time as the violin run.
-m68: Funnily enough, the one time you did use B#, this one can be an Cn together with the Fn a 5th below :p That's because this part is modulating back to Em, and the Fn-Cn is the b2/b6 from the bass note.