I think you're actually really reaching here to make a point.Modern scoring has a different aesthetic and technical paradigm to the JW/Goldsmith/Hermann tradition which was much more traditionally based when it comes to composing. There is also directorial and commercial pressure involved that has been totally influenced by the digital means of creation and musical tropes that have developed in a more sustained fashion since the early 90's (ish) to accompany moods on screen. These ubiquitous tropes allied to the ease of creating music have all but democratised the job of film scoring to the point where in theory (but certainly not in practice), composers who are technically ignorant of the older school of composing can potentially break into the industry and do very well.
I personally don't mind this so much because imv, the film experience can and does benefit from a vastly expanded pallette of sound and approach even if that sometimes means a blander, stereotypical kind of music (Marvel,DC et al in particular) which I'm not much of a fan of. Occassionally there are real gems of approach and effect in scoring from quirky and unique individuals that contribute greatly to a film as a result of a different musical upbringing.
Film scoring has evolved every decade that film scores became a relevant part of films, and I very much doubt that newer "composers who are technically ignorant of the older school of composing" to be a valid point.
You sound like Grandpas of every decade objecting to the crappy music "that teens listen to today. Back in MY day we had REAL music, music you could DANCE to, with snappy and nifty tunes you could whistle."
I could drag out "ubiquitous tropes" from every decade of film. For example, whenever there'd be an onscreen train . . . yeah, you see? You can already hear 'train' music.
That said, the musical pallette for film scores has always been including 'exotic' and diverse new styles and genres of music as it developed chronologically.