Some scores I like:
Batman Begins (Hans Zimmer/James Newton Howard)
Miller’s Crossing (Carter Burwell) - I also like Fargo and Barton Fink as well.
Peter Pan (James Newton Howard) - I’m referring to the 2003 Live action
Crimson Tide (Hans Zimmer)
The Mission (Ennio Morricone)
Akira (Geinoh Yamashirogumi)
Yeah, well, ArchiveGuy, if you know so much, how come you haven’t posted a link for the origins of that hand clappy song that I mentioned. The one where O Ren pushes back those sandals in the snow and her and the Bride gets it *in. * (shameless appeal to you for info on the origins of that music)
Last of the Mohicans. YES!
I still love, and play, the soundtrack of The Lion King.
As it happens, BBC Radio 4 are running a series in which Tarentino discusses how he selects the music to score his films. Sorry, but I imagine it will only play for UK residents but I bring to attention of those who are fascinated by this aspect of his work anyway. I haven’t listened to it yet because I’m at work - if he talks about your Kill Bill music, I’ll post about it, Nzinga.
Thanks, Promethea. I would love that.
“Don’t Let Me Be Misunderstood” by Santa Esmeralda .
What do I win?
You only win when you provide the link. But thanks for playing! 
Nobody has mentioned Gladiator yet? One of my faves. Such range, from the softest of ethnic sounds to the most powerful military marches and battle themes. Zimmer and Gerard were the perfect choices for this one.
A blowjob fair?
Anything that David Holmes has done for Soderbergh is pretty funky. Jon Brion usually does a good job. I agree that There Will Be Blood has a great score. When Danny Elfman isn’t phoning it in he comes up with some pretty creative stuff. Same with Mark Mothersbaugh.
I’m in the US and it plays fine for me. I haven’t listened to it yet, just tested to see if it will play. Thanks for the link!
Elfman is weird. His stuff is good but he relies on the whole tone scale way too much. The theme from The Simpsons should not sound like the score for Batman.
The main title from Ed Wood was a blast. More gold from Howard Shore.
One vote for the score for Chinatown.
The origional score was written by Phillip Lambro. In a test screening weeks before the official opening, when the lights came up half the audience had walked out. Everyone associated with the picture realized they had a dud.
Jerry Goldsmith was called in to write a complete new score. The score and the film worked hand in glove. Chinatown would go on to be nominated for 11 AA’s.
Score was one of 'em.
Thanks! I’ll add that with the Blade Runner score one wants to get their mitts on the very rare, bootlegged “Esper” edition. Also, I forgot to mention David Byrne’s score from “The Last Emperor”. Amazing music for an amazing film.
Oh cool - so often the Beeb restricts access.
I see you have your info, Nzinga - he didn’t mention your version of Don’t Let Me Be Misunderstood but they did play it in the background as the show was playing so the producers obviously enjoy it too. As do I - it rocks! but then I have a weakness for such things anyway.
“The Dark Knight” is on this list for the Joker’s one-note theme. Just fucking chilling.
The LOTR trilogy, however, is inarguably one of the greatest scores of the past few decades. The sheer number of memorable themes that Shore uses throughout is awe-inspiring in and of itself, but more amazing is how he uses them to bolster the storytelling. My favorite example is the subtle introduction of the Gondor theme in “Fellowship of the Ring,” which doesn’t return until “Return of the King,” scored two years later. Shore wields leitmotif better than just about any composer alive.
Edward Scissorhands. The most ethereal, haunting waltz EVER.
Children of Dune
The Fountain
That’s a good one. It’s not in my massive collection of scores, unfortunately. I’ve found it a little difficult to find.
Pan’s labyrinth is another good one.