Films in blocks by composer, organized by when I noticed I should do them. There may be notes.

40: Lola de la Mata: Stopmotion. Wonderful electroacoustic score paired with choral music.
39: Hans Zimmer, The Ring. Gorgeous piano and strings permutations of Dies Irae, one of his only horror films.
36–38: Die Hexen. Double Blind, You Are Not My Mother, Uroboros.
31 to 34: Trent Reznor: highlights include the subtle and atmospheric score to Bones and All, as well as multiple David Fincher films.
29 and 30: Jocelyn Pook: Eyes Wide Shut (note especially the minimalist piano use toward the end) and Tin & Tina.
28: Danny Elfman, The Nightmare Before Christmas—songs, score, and song voice for Jack.
27: Milo Machado-Graner, interpretations of two études for piano, Anatomy of a Fall.
20 to 26: Fabio Frizzi, longtime collaborator with Luciano Fulci in some of his most important films.
more carefully next time I watch those.
15 to 19: Raphaël Gesqua, early career spent composing for video games; wrote a score for A L'Intérieur that was rejected by producers; subsequently is composer for almost all Bustillo and Maury films. His work on Aux Yeux des Vivants is stellar.
10 to 14: Joseph LoDuca composed one of my favorite themes in film for Saint Ange, but, to my surprise, before that he was the composer for Evil Dead, Evil Dead II, Army of Darkness, and Brotherhood of the Wolf. I will be listening.
7 to 9: Colin Stetson—Hereditary, The Menu, Color out of Space
1 to 6: Andrew Gush and Taylor Stewart—Long term collaboration with Mike Flanagan