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The Last Valley.
The Wind and the Lion.
Chinatown.
Farewell My Lovely.
The Omen.
The Long Goodbye.
Walkabout.
Wuthering Heights.
Ryan's Daughter.
Dirty Harry.
200 Motels.
Images.
Obsession.
The Private Life of Sherlock Holmes.
Time After Time.
Star Trek.
Mary, Queen of Scots.
Diamonds Are Forever.
Providence.
Amacord
Off the top of my head. Love all of these scores. Not a bad list for two minutes of thought.
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1. Midnight Express
2. Halloween
3. Sorcerer
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I don't think people get today how groundbreaking American Graffiti was in it's day.
Pretty solid list. I'd include Superman (of course) but Superman wasn't so much groundbreaking as it was merely perfect.
Star Wars of course is pretty much the Sgt. Pepper's of film music. (I'm not sure what I'd call the Steiner King Kong.) There is before Star Wars and after.
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Wow. The article wasn't very well informed! I understand it refers to soundtracks and not scores,but as others have seen fit - here's the best I could do... (no particular order except for maybe the top 5)
* JAWS - Enough said
* ALIEN - Enough Said
* STAR WARS - Enough Said
* SUPERMAN: THE MOVIE - Enough Said
* THE OMEN - Groundbreaking implement of Black Mass and Celestia. Innovative use of extraneous materials such as zippers to conducting an array of choral motifs to mirror that of an orchestral one. Something that had not been done to such an extent before...and hasn't been so eloquently stated since (discluding Goldsmith's scores for the next two pictures, respectively).
* COMES A HORSEMAN - Diverse and spice flavored all time Americana themes accompanied by banjo and horns to create the perfect balance of drama, romance and the old west. Small's work here is extraordinary and maybe his best. Stunning arrangement and beautiful, thematic motifs.
* OBSESSION - I personally feel that Herrmann was saving his best score for his (second to) last. His magnum opus. Everything his career had been built upon seems to be coming to this score. It is, in my humble opinion, next to Psycho, his most complex, sweeping, and largely scopic film score. Preceded by the likes of genre titles such as "Sisters" and "It's Alive", he completed only one film score after (Taxi Driver) which is just as great but on a personal level I find it limited in comparison to his penultimate masterpiece.
* SUMMER OF '42 - Michel Legrand could send everybody home in tears with this one. Evocative and with sentiment and echo of yesterday, I get choked up by even THINKING about this one - I don't even have to hear it physically. The recall from memory sometimes serves enough.
* HALLOWEEN - Enough Said.
* CLOSE ENCOUNTERS OF THE THIRD KIND - Enough Said.
* CARRIE - Probably the most BEAUTIFUL "horror" movie film score of the Silver age.
* THE TAKING OF PELHAM 123 - Shire's solid and modernized variation of experimental beats created a new range of film music that was copied in many other scores to come.
* THE HINDENBURG - Probably the best "disaster" score recorded, Shire implements antiquated motifs with string-laden orchestra that creates an emotional roller coaster. The score itself is quite brilliant, and the soundtrack mixes a few number from the cast in, that acts more or less like a time machine to the actual era at hand.
* DAY FOR NIGHT - Enough Said.
and last but not least...
* CHINATOWN - ENOUGH. SAID.
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) 
