My preference is Chinatown, but when it comes to the context of a film, neither Goldsmith nor anyone else has been better than Chinatown. You could literally go through each cue to see why that's the case.
When people laud the screenplay by saying there isn't a wasted line or moment, they ought to be talking about the score, as each distinct cue is telling the story as much as anything else in the film.
I'm not sure you can include television miniseries, but the final scene in "Q.B.VII" where Ben Cady reflects on the outcome of the trial starts with low brass, but builds into a triumphant crescendo at the end, and segues into the end credits, with his credit first coming up.
