The question for "fatalism" or "dread" or other feelings in terms of measuring its presence is to determine "how much" of "fatal" and "fate" are being transmitted in what we see as the action unfolds. Structurally, "fate" and "fatal" will intersect most in a film, such as OOTP (as you referenced), which shows how characters, action, mood affect the visual flow and create "a sense of fatalism."
That works as well as I think it's possible to get it in the noir-o-meter. Films with flashbacks will score higher in this element than those which don't. What the "sense of fatalism" is also supposed to measure is how sustained that feeling or sense is throughout the picture. Films that set up feelings of incredible danger at the outset but don't carry it through the middle of the film and ratchet it up again at the end are going to be docked a point or two (an example: NIGHT AND THE CITY) in comparison with films that preserve the visual aspect of the narrative tension throughout.
As for the neo-noir-o-meter, I think downplaying "fatalism" in the measurement is worth some consideration, in favor of some more specific visual strategies. I would propose something like this:
--A sense of fatalism, dread, imminent danger in the visual flow (mise-en-scene) 10 points
--A sense of uncertainty in what the viewer is being shown (false/ambiguous visual clues) 5 points
--Editing techniques that are visually disruptive to narrative progression 5 points
For "black humor," you might just add "irony" to the element so that if it has both, it will register a higher score.
All of this does help demonstrate how films have changed their narrative approaches since that notation was first expanded in the 40s. Whether or not this has resulted in better films is another--and potentially far more controversial and incendiary--topic.