This is true, but I find that diversity is kinda signposted blatantly throughout (imho), like "THIS IS THE VIOLENT WAR TYPE MUSIC" or "THIS IS THE MYSTERIOUS THEME" or "HERE'S THE LOVABLE FELLOWSHIP THEME AGAIN"... it feels very paint by numbers to me, as a whole, although the individual parts function well enough. I also felt there was not enough sufficient leitmotivic development through the score(s), which is odd considering it's a leitmotif-driven score. Why introduce all these themes if you barely develop them? He repeats them almost verbatim scored in the exact same way(s) each time, more or less.
But that's because I'm a huge fan and proponent of leitmotivic development through a film score, and it's why I'll always prefer something, like, say,
The Face of Voldemort from Harry Potter over a well composed but ultimately superficial (imho) sequence of evocative orchestral notes.
It's ironic really, I feel; it's like the 'twinkling music' of a kids' film (Harry Potter) is less "childish" than an epic medieval war adventure (LOTR).