Wow, a lot of pithy quips for this early in the morning.
Disclaimer: I like Sam Smith, to an extent. My biggest issue with him is that, after a while, his songs all start to sound the same. Kind of like listening to Diana Ross & the Supremes' Greatest Hits. The falsetto you either like or you don't (perhaps the most divisive thing about him?)
So my thoughts on WOTW: overall I liked it. It sounds mostly like a Sam Smith song with some Bondian flourishes, a marriage of the two styles. The instrumental intro: Bond. The verse: a combination. The chorus: lurches back and forth; the minor chords call Bond to mind, while certain major chord progressions ("If I risk" & "could you break") sound stylistically like Smith, or generic power ballad. I agree with whoever said it that pulling back into a more intimate combo of piano & high falsetto DOES call to mind "Let It Go" from "Frozen"; this is the only repeated section over which I distinctly cannot picture a Bond opening titles sequence. It defies expectations by getting quieter when you expect it to get louder. I might've hoped for more of a full-voiced high part as in his "I've Told You Now", but the falsetto is at least a change of pace for a Bond theme.
Better than AWTD, DAD, and yes, even TWINE (which was itself a pastiche of "Surrender" and TND, and IMO, a rather milquetoast one at that). It's different, and I appreciate that they took a risk (that risk was structural, not commercial). And after booking Garbage on the decline, and Madonna in her electronic phase, it's good to see the producers ahead of the curve instead of chasing pop culture's tail. They booked Britain's hottest solo artists on the heels of their initial commercial and critical success. Time will tell if this is to be the new formula for title song artist selection. (Admittedly, someone got me excited by the suggestion of Annie Lennox, though even "Into the West" was 12 years ago).