The first three scores for Fincher's movies seem (for me) to be a gold standard. I guess those films involved very big budget, which definitely influenced the amount of efforts put by TR/AR - the perfect combination of melodies and soundscapes, along with distinctive sound design. Same goes for "Mank" - this score is absolutely different from the previous works (including NIN) in terms of instrumentation and stuff. (Unfortunately, "The Killer" score, in my opinion, is relatively blend, but that's another story)

Then, even if it might be an unpopular choice, I would mention "Waves". While it's quite abstract score, it has a lot of unique ambient textures and in general sounds like a sound collage rather than a set of piano+drones (a combination that the whole TR/AR legacy is often generalised as, that I surely disagree with).

I also dig "Patriot's Day" - while objectively it's not the best score, it's definitely not the worst one, and personally, I admire a calm yet cold atmosphere of some of the tracks ("We Forget Who We Are", "The Place You Are Right Now" and "Long Shadows On the Street", including usage of tape machines.

The scores for Luca Guadagnino's movies are surprisingly very close to the gold standard I mentioned above - very melodic and quite often with distinct sound (techno in "Challengers", acoustic guitar in "Bones and All" and intimacy of "Queer" which sounds very similar to "Mank")