I really liked the score, it fitted the lighter tone of the movie. Loved the openings track, very narnian, pulled me right into the movie. Gregson did a great job as well, but i think for PC he reused a couple of LWW themes too much.
Reepicheep, Land Ahoy, Market Forces, Duel, 1st Sword, i especially like the first half of the soundtrack, listen to them a lot these days.

I just feel the score can be better. For many films, the music is what holds the film together.

For instance in scary movies like The Shining, Requiem for a Dream, or Psycho the creepy music that plays throughout the movie is what keeps you feeling uneasy and excited the whole time, even when nothing really interesting is happening.

As for emotion, I'll use Titanic as an example. Personally the fairy tale like Jack/Rose romance would not have been very convincing had the score not emotionally manipulated us into feeling the romance had more depth then it did. Same goes for Braveheart which most of it's emotional scenes were made more touching by the music.

Or take Star Wars, ET, Jurrassic Park, and Lord of the Rings (which btw, also contains the Titanic/Braveheart emotionally manipulating music as well). All of those movies have an epic "Wow" sounding music that fills you with wonder. That makes some of the visually great scenes feel even more spectacular.

The music in VotDT did not keep me on the edge of my seat, it did not emotionally move/manipulate me, and it did not "WOW" me. And I honestly don't remember any of the music so it really isnt that good.

Like many others, the more I listen to David Arnold's soundtrack, the more I like it. Myself, I'm a fan of 1, 3, 4, 12, 21, 25, most of 27, 29 and 30. Track 27, "Into Battle", features the music for Eustace's undragoning, which I love. The rest of the music is good too, but the whole dramatic Sea Serpent battle tune is very lengthy and loud compared to the undragoning. That kind of gets me to my next topic I wanted to mention.

The length of the tracks is great. I'm personally a fan of soundtracks that have shorter tracks, as each different "type" of music is featured by itself. For Harry Gregson-Williams' soundtrack there are certain types of the songs that I like, while I don't always want to listen to the rest that is attached to it. A good example is track 7 from the LWW soundtrack, "From Western Woods to Beaversdam". I'm a big fan of the first half of the song (Lucy going through the wardrobe for the second time), while the second half of the song (Mr. Beaver leading the Pevensies to his home) is pretty different in style. Why not cut the song in half and make it into two separate songs (perhaps with gapless playback)? That's something David Arnold's score has. I prefer it that way. I do wish they'd done that more with the Sea Serpent's battle though. Another score that I'm thinking of right now is John Powell's "Horton Hears a Who!" soundtrack. They did the same thing there.

David Arnold took the step for VDT that Harry Gregson-Williams should have done for PC: develop a new type of music, while allowing some of the strongest melodies to carry through slightly (for something that takes place 1300 years later, that sounds fitting). Also, VDT takes place on the sea: not in Narnia. The fact that each of the Islands is unique means that the music should also be, well, different than what we're used to. The places where old melodies were brought back were appropriate, I think.

Now, the last thing I want to talk about is themes. While the LWW soundtrack has several "main" themes, I can't really notice themes for individual characters. The PC soundtrack built more upon that, I think. The VDT soundtrack did the best job of the three though, in my opinion. Yes, Reepicheep had a theme in PC: a soft trumpet, heard twice or so. But where exactly did the bagpipes come from, when Reepicheep is carried out of the river? Was one of the mice playing them? Anyway, I think David Arnold's theme for Reepicheep was the best. Reepicheep's theme in VDT starts softly in the beginning of the movie, but when he finally goes into Aslan's Country, it's, well, pretty amazing and emotional!

While I'm a big fan of Harry Gregson-Williams' LWW soundtrack (the soundtrack that got me liking soundtrack music), I think David Arnold's VDT soundtrack is almost as good, if not equally good for it's own reasons. I'm missing Carry Underwood's "There's a Place For Us" though. Harry Gregson-Williams' PC soundtrack is my least-favourite of the three, but I still like it: I just don't find myself listening to it as often. If "The Silver Chair" gets made, I'd be happy with either Harry Gregson-Williams or David Arnold. Both for their own musical styles and ways of working.

The score doesn't stand out for me...it doesn't feel majestic or "Narnian" enough like in the first 2 movies. I always love it when movie franchises maintain consistent sound throughout, e.g. Harry Potter 1-3 (John Williams), Transformers 1&2, etc. It makes you feel more connected to the story and characters. That said, I like the track "High King and Queen of Narnia" because it uses HGW's score, and the last track "Time To Go Home" always makes me bawl.