gkgyver

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Saruman wasn't in the book. And no dwarf dies until TABA. In the book ....

Is nobody worried the film may have deeper flaws than Smaug being two legs short?

The sharp tone of a minor chord with a raised fourth (terminology?) resolving into the perfect fifth. If you have the first page of the sheet music for My Dear Frodo ready, it's in bar 3, the F resolving into F#, for example.

If the final two minutes of My Armour Is Iron don't grab your attention, nothing will.

Um, yes, yes and yes?
Never develops into anything? Are you familiar with the scores? The majestic fanfare in Meduseld, the mournful statement in the Glittering Caves scene, the gentle and tense variation when the Uruks march on Helms Deep, the heroic variation in Forth Eorlingas, the call to arms after the beacon lighting, the triumphant Rohan fanfare cap-off of the Nature theme riding out of Edoras, the pulsating and rallying version when the troops leave Dunharrow, the penultimate statement on the Pelennor, and the peaceful versions for Theoden's moment with Eowyn at Dunharrow or fading out Theoden's death ... these are just the statements that differ the most. Not exactly one-dimensional. And definitely not always the same key.
As far as development goes, it's a theme for the place and maybe it's people, just like the Gondorian theme. It doesn't need to go somewhere entirely new with it because the movie doesn't.

None of Shore's LotR scores had a main theme. They just introduced themes and motifs for certain things, but Shore never went and wrote a theme for the movie, in none of them, not in LotR, not in DoS, and not in AUJ.
In fact, Misty Mountains was the first theme in his entire Middle-Earth opus that was applied once or twice in the function of a general main theme instead of some concrete leitmotivic idea. And even with that I'm not sure because you can certainly look at it like a theme for the dwarves' longing for Erebor. Once they're there in DoS, it would be logical for it to dissappear.
The Fellowshiip theme, the Rohan theme, the Gondor theme, they're not main themes, they are thematic ideas applied to prominent plot elements, namely the Fellowship, Rohan and Gondor; and because each one of the three movies focuses on one of these plot elements, the applied themes are the most prominent in the score, but that doesn't make them the "theme for the movie" in the common sense. They do play over the title card, but I consider those statements as curtain openers, or a short overture, to foreshadow what the next act of the story will focus on.

The Rohan theme static and uninteresting?

Um, yes, yes and yes?
Never develops into anything? Are you familiar with the scores? The majestic fanfare in Meduseld, the mournful statement in the Glittering Caves scene, the gentle and tense variation when the Uruks march on Helms Deep, the heroic variation in Forth Eorlingas, the call to arms after the beacon lighting, the triumphant Rohan fanfare cap-off of the Nature theme riding out of Edoras, the pulsating and rallying version when the troops leave Dunharrow, the penultimate statement on the Pelennor, and the peaceful versions for Theoden's moment with Eowyn at Dunharrow or fading out Theoden's death ... these are just the statements that differ the most. Not exactly one-dimensional. And definitely not always the same key.
As far as development goes, it's a theme for the place and maybe it's people, just like the Gondorian theme. It doesn't need to go somewhere entirely new with it because the movie doesn't.

None of Shore's LotR scores had a main theme. They just introduced themes and motifs for certain things, but Shore never went and wrote a theme for the movie, in none of them, not in LotR, not in DoS, and not in AUJ.
In fact, Misty Mountains was the first theme in his entire Middle-Earth opus that was applied once or twice in the function of a general main theme instead of some concrete leitmotivic idea. And even with that I'm not sure because you can certainly look at it like a theme for the dwarves' longing for Erebor. Once they're there in DoS, it would be logical for it to dissappear.
The Fellowshiip theme, the Rohan theme, the Gondor theme, they're not main themes, they are thematic ideas applied to prominent plot elements, namely the Fellowship, Rohan and Gondor; and because each one of the three movies focuses on one of these plot elements, the applied themes are the most prominent in the score, but that doesn't make them the "theme for the movie" in the common sense. They do play over the title card, but I consider those statements as curtain openers, or a short overture, to foreshadow what the next act of the story will focus on.

The Rohan theme static and uninteresting?

Why exactly is this discussed in the score thread anyway?
But keep going, 100 pages before the score's released ain't shabby

The answer is: mad editing schedule.

Good to know I haven't become completely tone-deaf. I love that rendition in the first minute of The House Of Beorn, it's atmospherically somewhat reminiscent of Strider's introduction in Bree.

It's certainly based on "Arwen Revealed", but to me it was always a variation on that, since the ascending echoing lines aren't part of her theme.

No, I don't mean THAT theme, but the theme for Arwen praying for Frodo's life at Bruinen. I don't think that is Arwen's theme per se, it goes into a different direction.

The dirge- like choir statements of Smaug's theme at the end of "My Armour Is Iron", with the short interlude of Thorin's theme, are spine-tingling.

Wizard themes are never late anyway, they arrive precisely when they mean to!

Wizard themes are never late anyway, they arrive precisely when they mean to!

Huh??
You're exaggerating. I didn't count them, but as far as I can remember, every new theme from AUJ is heard in DOS, except for the setting-specific themes like Goblintown. Just because the Plan 9 theme isn't there doesn't make it "the prequels all over again", not even close.

It's the part where Lisl travels to Shanghai and has an awesome fist fight with an assassin in the midst of ... wait a minute ...

It's the part where Lisl travels to Shanghai and has an awesome fist fight with an assassin in the midst of ... wait a minute ...

It's the part where Lisl travels to Shanghai and has an awesome fist fight with an assassin in the midst of ... wait a minute ...

It's the part where Lisl travels to Shanghai and has an awesome fist fight with an assassin in the midst of ... wait a minute ...

I like it when my jokes are being taken serious.
But you probably can't argue that with all the stuff the new Zimmer-damaged generation is being bombarded with, subtle themes and implementations are probably not their cup of tea.
Personally, what I've heard of the score, I find the atmosphere phenomenal.

It may sound insane and incredibly petty, but I muted the stream during the song sample. It takes me out of the experience completely with that yelling voice and crass difference in tone.
Same reason I skip SotLM when listening to AUJ, but with Sheeran having the irritation level times ten.