Let's start the ranking!
10. V for Vendetta (Dario Marianelli)
Using a militaristic sound, Marianelli soaks dread into most of the score. The more romantically scored moments are strong and show off the choir and solo piano. The Tchaikovsky moments in the finale are worth listening for.
This score is a full bombastic summer blockbuster. Large orchestra and choir in many action cues with a new strong X-Men theme and fantastic theme for the Dark Phoenix subplot.
A mix of Americana, full Country, brass fanfares, electric guitars, derivative Newman/Pixar material and the usual Newman semi-schmaltz. Director John Lasseter gives Newman plenty of room to paint the scene, as in the 'romantic' ride of Sally and Lightning McQueen.
Howard supplies the film with some emotional beats, dramatic tension and African style throughout. His main theme is particularly notable in the finale.
Strings are the focus in this mostly foreboding score. Adding to the mystery religious-sounding elements are solo soprano, violin and cello. While it's full of Zimmer-isms, the Chevaliers De Sangreal (main theme) is the highlight.
Using his best action and suspense spy chops, Giacchino added a modern edge while staying true to the Lalo Schifrin tune. A countermelody, driving ostinatos and new themes work well but got improved on his next Mission film.
Here Howard shines in another Shyamalan film. The orchestra, choir and piano often have a rippling/circular motion giving us a water effect. Themes converge to a rousing climax in The Great Eatlon. A great score to a bad movie.
Ottman's addition to and adaption of Superman is probably best part of the film. There are times where his new material shines, but when he tactfully uses the Williams Superman themes, it is magic.
Another action score that reminds viewers of the past and the future. It features less electronics than Arnold's previous scores, strong brass licks, ethnic location flair, and of course brief hints of the Bond theme until the very end.
For this fairy tale within a horrific real world, the score is based on a haunting lullaby. It is an often sparse score, using atonal brass and strings for some choice moments. It is the way he transforms the lullaby so evocatively makes it a score that is hard to forget.
United 93 (John Powell), The Illusionist (Philip Glass), The Queen (Alexandre Desplat)
Any favorites of yours from 2006 that I didn't include? Comment below!