You'll recognize that style of score as "decidedly modern" and "exactly what's in literally every single action movie of the past decade." That's a 90-piece orchestra being heavily augmented by tons of electronic samples. The Batman Begins score influenced a generation of composers, and movie music became the way it is today in part because Zimmer's computer sucked at woodwinds. And also because ...
Directors Are Constantly Recycling Scores
Most of the people reading this can hum "The Imperial March" from Star Wars or the Indiana Jones theme, but could not at gunpoint do the same for, say, Iron Man or Thor. There's a reason for that ... and in fact, a reason most movie scores aren't original.
In general, composers need to see a movie before creating music for it, which means that part comes last. But the film's director needs some kind of music in the background during editing, so they use a temporary track (often a score from some other movie, or some other piece of classical music). But then, as Keltonic says, "they listen to it so much, they can't imagine the scene without it." At that point, the director basically says, "Give me something exactly like the temp score!" Thus you wind up with a score that's almost a cover version of somebody else's.
To be clear, this isn't at all a new thing. "The temp track for Star Wars is quite close to the finished product (not that John Williams isn't a genius, because he clearly is)," says O'Boyle, "and Stanley Kubrick famously liked the temp track that he threw together for 2001: A Space Odyssey so much that he decided not to use a single note of the music he'd hired Alex North to write and record for him. North didn't find out until he sat to watch the premiere."