Please give me examples of a chance or something Newman does to make SF's score stand out and maybe I can view it in different light. I have an open mind and want to enjoy it. Until then, I stand by my opinion it's the least interesting score since NSNA.
I can'r make you like score through examples, as if there's one crack or piece missing from the puzzle. Music is one of the most personal things, and havr given up on doing the Spanish Inquisition treatment on those who share a different opinion. I just accept it.
The best I can do is mention Newman's three quotes of M's stoic theme foreshadowing her fate along with the first lines of Adele's title song. A beautiful chorale-like theme, orchestrated like for a brass, echoing John Barry's THE LION IN WINTER, but never sounding like a pastiche. Like the music for the '68 film it hints at SKYFALL's religious and specifically Catholic subtext. Another is the recurring motifs for Silva, first heard when Bond persuades Severine to take him to her 'employer', Silva demands M to say his real name in the isolation chamber, and finally when treading past the Bond family headstones, as if invoking the anger of 007's forebearers. Its guitar-led ostinato is like a twisted brother of the three note vamp of the Bond theme, and famenco suggests Silva's Iberian heritage.
These two leitmotifs along with Bond theme tie together the Bond-M-Silva triptych which lies at the heart of the film.
True to his general MO, Newman avoids reinforcing the drama (turning it into melodrama) and tries to bring out the subtext or add some kind of metacommentary.
