Gnome in Plaid

The entire half of Revenge of the Sith that was unreleased - It Can't Be, the music for Obi Wan's Utapau adventure - leaving Coruscant, arriving on Utapau, leaving Utapau, I am the Senate, parts of the Mustafar duel that were left out, film mixes of cues etc. etc. 
 
Jesus, these prequel scores needed two disc releases upfront!

.
 
 

John Williams scored Star Wars and The Force Awakens. 
 
 *mic drop*

The Green Mile (T. Newman) - I can't get much into the more whimsical parts of the score, but the more dramatic parts of the score are phenomenal.  "Coffey on the Mile" is a truly remarkable piece of music.
There's something about the melodic pacing that really throws me off.  The phrasing never seems to resolve in the way I expect.

I don't think I'm knowledgeable enough to go early than the 70s, but here are my lists:
 
1970s
Alien
Apocalypse Now
Five Easy Pieces
The Godfather
The Godfather Part 2
Jaws
Patton
Star Wars
Taxi Driver
The Wicker Man

1980s
The Blues Brothers
Brazil
Broadcast News
Empire of the Sun
The Empire Strikes Back
Ferris Bueller's Day Off
The Mosquito Coast
Raging Bull
Raiders of the Lost Ark
The Shining
 
1990s
American History X
Apollo 13
Cobb
The Green Mile
Heat
Home Alone
Pulp Fiction
The Big Lebowski
The Silence of the Lambs
Unforgiven
 
2000s
American Gangster
Finding Nemo
Frost/Nixon
The Fountain
The Hours
Kingdom of Heaven
The Lord of the Rings (considered as one film)
Michael Clayton
Sahara (added as an 11th- a little guilty pleasure there)
Synecdoche, New York
The Wrestler
 
2010s
Arrival
Birdman
First Reformed
Lady Bird
Lincoln
Loving Vincent
Manuscripts Don't Burn
Prisoners
Silence
Whiplash

The LEGENDARY Ryuichi Sakamoto has scored an episode of Black Mirror season 5 titled "Smithereens"
 
https://pitchfork.com/news/ryuichi-sakamoto-scores-new-black-mirror-episode-shares-song-listen/
 
Here's a cue.  It sounds very Sakamoto!
 

What about that ill-fated cat from Christmas Vacation?

Se7en is not better than Silence Of The Lambs!

Have to ask Lorne and Benjamin.

Only manuscript.
8 staves for smaller cues, up to 20 for the busiest ones:

Pull the lever, Kronk!

I Am the Senate is a pretty strong contender.
 

I’d say the subtlety in Silence Of The Lambs comes from its restraint in its horror. It’s fairly tame until Lecter gets loose and then it’s operatic in its violence.
 
 

For film, The Silence of the Lambs, easily.  It's simply a phenomenal, iconic film.  Se7en was also very good, but it was frankly too brutal for my tastes.  For score, it's a tougher decision.  I actually listen to Silence pretty frequently, and the new complete release is done really well.  Clarice's theme is just one of those elemental melodies you can't forget.  The one drawback for me is the middle section of the cellar cue.  The synths are really out-of-place with the otherwise organic sound of the score.  I wonder how Shore would have approached that scene a little later in his career after developing his aleatoric manifesto.  Se7en, though, damn...  It's Shore at his absolute darkest (well, along with Panic Room).  "Wrath" is a nightmare expressed in five minutes.  It's musically more interesting than Silence, but I definitely get more out of the earlier score.

I guess, though I always felt it overdid things a bit. The murders, the point John Doe tries to make, the urban decay, it's all pumped up for maximum effect. Silence feels...more natural. There's real sadness in it. It's less grotesque.

"Who is it that the monster's taken, Minerva?"
 
"Ginny Goldsmith."

I Am the Senate is a pretty strong contender.
 

I heard a small bit of music from Mortal Engines and was not impressed. My problem with his music is that it sounds like generic "trailer" music. Listen to the music is the recent Star Wars trailer for example, that is basically what JXL's music sounds like and I can't stand it. It's like a sound effect designer who has severe ADHD just discovered how to use a music sequencing program.

I always thought The Compys! was a pretty grotesque cue, very disturbing (especially the music that underscores Dieter desperately crawling over the log as dozens of compys follow him over and we hear only his screams and chirping). The brass writing there is particularly horrific (especially those stabs at 1:11).
 
0:50 onwards. 
 
 

The MCU started with Djawadi's "Iron Man," and from there, things could only possibly be better.

My personal opinion is that the 6 big studios (Warner Bros, Paramount, Universal, Disney, Sony and Fox) have all decided they would rather spend $300 million to make $1 billion than spend $10 million to make $100 million.  Therefore, when investing $300 million in the production of a movie, they hedge their bets and rely on built-in audience recognition to help minimize risk of a flop.  On top of that, when they spend that kind of money, they expect the final film to contain a fair amount of spectacle.   On top of THAT, they tend to make hiring decisions that minimize the chances of being blamed for taking a risk, so you see the same names writing, directing, starring in, and scoring these movies.  Put all that together and you get yet another comic book property/old tv show being rebooted/old movie series being rebooted made by the same people who are making everything else.
 
The mid-level studios (i.e. Lionsgate, Millennium) try and make movies that achieve some aspect of the bigger studio films but cut corners to keep the costs down, usually well under the $100 million budget.  Hence you get movies like Olympus Has Fallen, London Has Fallen, The Hellboy reboot, Red Sonja - directed by people either on their way up to the big 6 studios (James Wan) or on their way down (Bryan Singer).
 
The low-level studios such as Asylum usually have more creative fare because they need to attract audiences based on high-concept scripts rather than expensive name actors/crew and visual effects.  In these movies you see more innovation than the higher 2 categories.  But they are made under very tight means, with music budgets in the 10's of thousands of dollars rather than 100's of thousands or even millions.
 
The real place "normal" films are being made is in the independent film scene, TV/internet "networks", and the foreign film market.  Films like Philomena, The Theory of Everything, and The King's Speech, for example, these are are made in Britain outside the mainstream Hollywood system.  In America, a lot of the "normal" films are either independently financed or made for TV (HBO in the 80's and 90's, Amazon and Netflix in the  2000's and later).
 
In the 70's, Paramount would make and release a film like THE CONVERSATION.  Now that would be a "Made-for-Netflix" movie.  In the 80's, Warner Brothers would make THE ACCIDENTAL TOURIST.  Today that would likely be a small film production company like A24 (Room, Moonlight).  90's films like The English Patient would probably be made in England with foreign funding rather than through an American indie like Miramax.
 
So the films like Rain Man, Three Men, Fatal Attraction, Home Alone, and Ghost are still being made - just not by the 6 major studios....
 
 

It frustrates me because these are resources and talents that could be put toward more worthwhile projects instead of corporate-managed algorithmic schlock.

It frustrates me because these are resources and talents that could be put toward more worthwhile projects instead of corporate-managed algorithmic schlock.