What I would say in response to your statement is that this score is almost an adaptation of Catch Me If You Can, but with a new theme or two and none of the original themes from that movie. I will agree that John isn't given as much cfreedom to work with in this film and, as a result, the score sounds as though John had to hold back somewhat. It seems almost an unnatural fit, but a fit none the less. I just believe the score to be functional, but nothing to write home about.

Also...

The thing that I've noticed with John's last two Spielberg Scores (Terminal and Catch Me) is that they serve as an enhancement to the movie. I am fairly used to hearing John Williams steal the show with music that comes to the forefront at every possible moment (although it is usualy in the best of taste). But the last two... I had to see Catch Me twice before I even noticed the music outside of the credits. I believe Catch me to be one of John's most functional scores. The Terminal, I only saw today and, with the exception of a few romantic moments (IE the mosaic scene) and some spots that sounded like a regurgitation of Catch Me, the music was used as JUST the cherry on top rather than the cherry, hot fudge, and whipped cream of the big Sundae.