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Awesome Music: F Ilm
"If our music survives, which I have no doubt it will, then it will be because it is good."

Drumroll, please…

Examples of Awesome Music in films.

Some of these are awesome enough to be played in actual concerts! Of the orchestra kind! How cool is that? Here's a short preview for what you will see and hear on this page.





The rest:
  • How The West Was Won, by Alfred Newman.
  • The live-action remake of The Sorcerer's Apprentice, for an okay film, has a surprisingly beautiful and awesome use of One Republic's "Secrets". It's made even more awesome by the fact that there's synchronized Tesla coils shooting out bolts of electricity in tandem with the beat of the song.
  • Beelzeboss: Kage and Jables fight the Devil, with rock. Hilarious for its frequent and creative use of the f-word.
    You hold the scepter
    We hold the key
    You are the Devil
    We are The D!
    • Master Exploder from the same movie. So epically awesome it will blow your mind. Extra fun trying to play it in Rock Band 2 and realizing just how hard it is.
KLANG KLANG!!! KLANG!!! KLA-KLANG!!! (done with a frying pan in the first movie).
  • Used to awesome effect in Salvation. That signature theme is entirely absent until the T-800 shows up, and the theme kicks on just as Arnie's face appears on screen.
  • Another thing, the 1984 Terminator theme was originally quiet, then suddenly HITS you with the KLANG! towards the end.
  • The Terminator theme was perfectly synched with Skynet's. (DUH!)
  • Guns N' Roses's "You Could Be Mine", which appears in two movies.
  • Dillon Dixon's amazing credit roll theme, "Open To Me".
  • The Sega CD game. It's about the only one to have the proper theme, but the in game music is full of hair metal that wouldn't be out of place at a night club. Arguably the best part of the game.
  • The opening theme for Freaks. Incredibly creepy.
  • Dr. Strangelove: "We'll Meet Again".
    • And Laurie Johnson's "Bomb Run Theme". The tune sung by the chorus is "When Johnny Comes Marching Home", which is ironic considering what's happening at the time...
  • Zulu has a great main theme but the awesome is when to respond to the Zulus' war chants the redcoats start singing 'Men of Harlech'. Found, in all its glory, at the end of this finely crafted link.
  • "Ride of the Valkyries" in Apocalypse Now (starts at 3:15 here.)
  • "Also Sprach Zarathustra", the 2001 opening theme.
    • Also from 2001 The Blue Danube Waltz which is awesome in its own right but when played over futuristic space stations and spaceships travelling to the moon it cranks up another few notches of awesome!
  • Cloverfield's only original score, Roar! (From "Cloverfield"), is undeniably awesome.
  • If music that plays over credits can be included, Juno Reactor's "Navras," the end title music from The Matrix Revolutions. There's nothing quite like that choir coming in at quadruple-forte with the Sanskrit text.
    • Neodämmerung from The Matrix Revolutions is also a memorable CMOA. Nothing quite gives off the "prepare to get your ass kicked" vibe like intense piano, gunshot-like percussion and Sanskrit lyrics that so loud that it seems like they are shouting it.
      • Interestingly enough, the Sanskrit lyrics actually explain exactly what's going on and why Neo has to die.
      • Also notable is that as the fight escalates the lyrics are sung more earnestly, giving you that feeling that things are hitting a fever pitch by the middle.
      • Rather than just random Ominous Latin Chanting, it's actually a Hindu Vedic hymn spoken in Sanskrit concerning enlightenment, making it not only epic but deep.
    • More Sanskrit: Navras.
    • Clubbed to Death, from the first Matrix movie.
    • From the first Lobby Shootout scene, "Spybreak!" by the Propellerheads.
    • From the first Matrix movie, Lunatic Calm's "Leave You Far Behind". Morpheus is fighting Neo! or, for a cleaner version, here.
    • Reloaded has tons of fantastic music, a few notable examples being the Chateau Fight, the Freeway Chase, and the incredible sequence where Morpheus' ship arrives at Zion.
    • Wake Up
      • Speaking of Rage Against the Machine, Calm Like a Bomb playing over the credits of the second film.
    • From Revolutions, "Tetsujin", especially after about 1:25 or so.
    • From the first film, "Dragula (Hot Rod Herman Remix)" by Rob Zombie.
    • Any music from the series qualifies.
    • Burly Brawl from Reloaded.
  • For an awesome a movie film...who ya gonna call? Ghostbusters!!
    • Not quite as iconic, but the use of Mick Smiley's "Magic" as the spirits released from the Ghostbusters' containment facility float through the Manhattan skyline and wreak havoc throughout the city sets a high standard of creepy awesomeness for the film. And Alessi's "Saving The Day" gives the Big Damn Heroes moment just that little bit extra 'umph' of awesomeness.
    • "Cleaning Up The Town" off that CD. Not just appropriate, but a nice little piano-led stomp to tap your feet to.
    • Dana's Theme, composed by Elmer Bernstein, added a sense of class and yet otherworldness to the main female protagonist of the picture.
  • What was that other famous movie that opened the same weekend as Ghostbusters? Gremlins! And that gave us the "Gremlin Rag".
  • Neil Young's Opening Credits "Freight Train" Theme for Dead Man by Jim Jarmusch (w/ Johnny Depp).
  • Rodrigo's Concierto De Aranjuez, originally written for classical guitar, is brilliant of itself - but when rearranged for flugelhorn and full silver band in Brassed Off and set against the failing negotiations to save the mine, becomes something even more transcendent.
    • Also the famous William Tell Overture in the finale.
  • Klaus Badelt's work for this scene from The Time Machine.
  • Hello Zepp, a.k.a. "The Shithole Theme," the main theme of the Saw films.
  • Tubular Bells, probably best known as the creepy song from the Exorcist. Although, if you actually manage to listen to the entirety of its roughly 48 MINUTE runtime, it turns out to be a bunch of Moments of Awesome played one after the other.
  • Twilight: "Decode" by Paramore and "Supermassive Black Hole" by Muse.
    • Bella's Lullaby is beautiful, as is the rest of the score composed by Carter Burwell.
    • Iron & Wine's "Flightless Bird, American Mouth" and the wedding version used in the fourth film.
  • Just Like Honey by The Jesus and Mary Chain at the end of Lost in Translation. In fact, most of the Lost in Translation soundtrack (see also: Girls by Death in Vegas at the start of the film).
  • Bill & Ted's Bogus Journey. End of the movie, at the Battle of the Bands. "The best place is here. The best time is now. And all's we can say is... LET'S ROCK!!" Cue the epic guitar intro leading into "God Gave Rock And Roll To You" by KISS.
  • The Back to the Future theme. So awesome you can hear the DeLorean shifting up gears and accleration as the full piece proceeds. Put this one in your CD player and find an accommodating freeway somewhere.
    • The iconic performance of "Johnny B Goode" at the end was awesome, too. Not only were the vocals provided by Mark Campbell brilliant (contrasting with Michael J. Fox's speaking voice just enough to create a realistic case of Singing Voice Dissonance), but that face melting guitar solo...which, unfortunately, the teenagers of the 50's were not ready for. But their kids would love it.
    • The complete score is an essential buy, particularly for the entire clocktower scene.
    • "The Power of Love" by Huey Lewis and the News. The 80's keyboard and the smooth guitar riff used throughout are just cool. It WAS nominated for "Best Original Song" at the Oscars, after all.
    • There's also "Back in Time", also by Huey Lewis and the News, which sums up the movie's main themes extremely well.
  • From the 1984 cult noir film Streets of Fire, the opening song, sung by the main damsel in distress Ellen Aim sings one of Jim Steinman's best songs ever: "Nowhere Fast".
  • Fans of George Romero's zombie films generally consider John Harrison's score for Day of the Dead to be the best of the series. Like the songs "Breakdown" and "Escape Invasion".
  • The soundtrack to Dragonheart has several awesome tunes. Examples seem a bit hard to find though, but here it one example: "To the stars". The trailer to the Disney film Mulan used music from Dragonheart in the scene where everyone starts to kneel to Mulan at the climax of the film.
  • Vangelis' score for Blade Runner is a classic.
  • Also by Vangelis: the title theme to Chariots of Fire, paired with the scene of the track stars running down the beach in slow motion, is such a Moment of Awesome that it's the only thing most people remember about the movie.
    • Conquest of Paradise. The movie was forgettable, but the opening score is not.
    • The opening to Olympia set to the music from Alexander.
  • Kevin Smith's Zack and Miri Make a Porno features a very moving use of the unpublished Live song "Hold Me Up", which inexplicably was not included on the soundtrack.
  • The Mission: Impossible theme by Lalo Schifrin was awesome enough as it was. Add Danny Elfman's slight reworking (and score) for the 1996 movie AND the remix by's damn near the most iconic theme in the world.
  • The Godfather. Nino Rota's gonna make youse guys sleep with da fishes if youse don't post some of his excellent music.
  • Henry. Freaking. Mancini.
    • The theme from Lifeforce, that Naked Space Vampire Movie, proves that Mancini can do epic SF fanfare too. Too bad it's much better quality than the movie it's from.
    • The indecently sexy theme for the movie Arabesque.
  • The Halloween (1978) theme. Also Nightmare Fuel Music.
  • Steppenwolf's "Magic Carpet Ride" blasting across the launch base as Zefram Cochrane goes to make Earth's first contact with aliens possible in Star Trek: First Contact. Screw Easy Rider, THAT is the greatest use of the band's music ever.
  • The Rocky series gave us "Gonna Fly Now" one wonderful anthem and also "Eye Of The Tiger" and "There's No Easy Way Out".
  • Tarawa from Snow Falling On Cedars. Just... wow.
  • The theme from The Great Escape.
  • Jerome Moross's The Big Country theme predates The Magnificent Seven by a few years, and is officially the first real Western film score.
  • Erich Wolfgang Korngold's theme for King's Row, which should sound familiar. Apparently, when John Williams was writing the Star Wars soundtrack, George Lucas specifically asked him to emulate this.
  • V (of V for Vendetta fame) blows up the Old Bailey and the Houses of Parliament to the stirring strains of the 1812 Overture. Never has classical music been so incredibly badass.
    • The 1812 Overture is badass enough on its own. What other piece requires an artillery section and the church bells of a city?
    • Evey Reborn.
  • The Fifth Element with Lucia di Lammermoor/The Diva Dance.
    • While the original performance by Inva Mula has contradictory sources as to whether it was digitally manipulated (it appears to be); but the semi-professional singer Laura Workman was able to do the piece for real.
    • Also, the bit that plays as Leeloo escapes containment and gives us our first look at Future!New York. Absolutely mesmerizing.
    • The song that plays over the credits: "The Little Light of Love", by Eric Serra, is laid back, exotic, and romantic.
  • From Sunshine, "Sunshine (Adagio in D Minor)" is likely to get more exposure on trailers than it did in the movie, but it was a perfect accompaniment to the scene, and made it the emotional climax that it was meant to be.
  • Queen's theme for Flash Gordon. Viewable here.
    • The battle between the Hawkmen and War Rocket Ajax is four-and-a-half minutes of entirely uninterrupted awesome, even discounting the presence of BRIAN BLESSED and his signature DIIIVVVEEE!!!: The triumphant, rollicking synths and rumble-tumble drums of the first theme (starting at :52 in the following clip) segue into an all-out CMOA around 2:25 as Queen just goes for it. Ready?
    • The songs for Highlander (which led to their own album) as well. "Born to be kings, we're the princes of the uuuniverse!" Special mention to an insane guitar solo from Brian May at the beginning of "Gimme the Prize" that did not make it into the movie but which quite possibly broke time.
  • Love Actually has the triumphant-in-the-face-of-adversity PM's Love Theme. And pretty awesome cover of Mariah Carey's "All I Want for Christmas" by then 10-year-old Olivia Olson. She actually had to not sing as good as she could for the movie because the producers were worried that if she sang at full strength, the audience might not think it was actually her singing. For reference, here's how she sounds on the ''Love Actually'' soundtrack.
  • Kenny Loggin's Highway to the Danger Zone from Top Gun.
  • Jan A.P. Kaczmarek's Oscar-winning theme from Finding Neverland.
  • Jai Ho from Slumdog Millionaire won the Academy Award for Best Original Song. It's easy to hear (and see) why.
    • The song "O Saya" was equally awesome and used perfectly during the chase scene at the beginning.
    • "Mausam & Escape" reeks of epic.
    • Aaj Ki Raat, an astonishingly trippy remix of a disco tune almost sounds like Matrix music.
    • Really, any work by A. R. Rahman would count as CMOA. The man is prolific. Some of the work he did in India is (*gasp*) as good as Slumdog, though not always as showy or...techno-sounding. Even his debut became a classic.
  • Casablanca: "Play 'La Marseillaise.' Play it."
    • Prefigured five years earlier by the rousing performance of 'La Marseillaise' in The Grand Illusion. Here the Germans celebrate the taking of Fort Douaumont during the Battle of Verdun, ringing the church bells and singing 'The Watch on the Rhine' (sung by Major Strasser and his henchmen in Casablanca, even though this song was no longer the 'hit' it had been during the Franco-German War of 1870/71 and, to a lesser extent, World War One), but the Allied officers in the POW camp decide to put on their variety show anyhow. Then that show is interrupted by the news that the French have retaken Douaumont, and the performers just on stage - a group of British officers in drag - lead the audience in 'La Marseillaise' to the fury of the camp commandant and his officers, who are sitting in the front row. (Marcel Dalio, one of the stars of The Grand Illusion, had a bit part in Casablanca as one of Rick's employees).
  • Some highlights from Repo! The Genetic Opera include Zydrate Anatomy, Chromaggia, Seventeen, and ''We Started This Op'ra Shit''.
    • "Chromaggia" also counts as an in-universe example. Particularly the line "I would rather be blind".
    • "Let the Monster Rise". Anthony Stewart Head holds his last note like nobody's business.
    • "21st Century Cure", on the grounds of Terrance Zdunich's amazing low note on "concrete beloooooow..."
    • "Legal Assassin" does a great job of portraying Nathan's inner conflict while sounding awesome.
    • "Gold" gives Paul Sorvino a chance to show off his pipes.
    • "I Didn't Know I'd Love You So Much" is tender and tearjerking.
  • Michael Mann has a knack for choosing Awesome Music to cap his films. To wit:
    • Heat, while Lt. Hanna stands vigil as Mc Cauley dies: "God Moving Over the Face of the Waters" by Moby.
    • Miami Vice, while Crockett watches Isabella leave, Tubbs watches Trudy wake up, and Crockett goes back to hospital where Trudy is recovering: "Auto Rock" by Mogwai.
    • Ali, while Ali defeats George Foreman in the Rumble in the Jungle: "Tomorrow" by Salif Keita.
    • "Shadow on the Sun" by Audioslave in Collateral.
  • Clint Mansell:
  • Tuck Everlasting's ominously epic "Jail Break" and hauntingly lovely music box whistling.
  • The theme to StarGate is so awesome that trailers can't help but use it to make ''their'' movies look awesome.
  • The use of Brian Eno's "Ending (An Ascent)" at the end of Traffic was pretty inspired, especially considering the final scene is of Javier finally getting to watch kids play baseball at night.
  • The live action adaptation of 20th Century Boys already has one in the first film, with the classical Golden Age superhero inspired theme for Kenji and the rest of the gang joining together again. When we finally get to hear the whole thing as they prepare for the climactic battle against Friend's giant robot, it makes what was already an incredibly emotional scene in the manga even more of a Tearjerker, Heartwarming Moment, and Moment Of Awesome all rolled into one. Starts at 2:30 here.
  • The resurrection scene in Casshern is elevated to ridiculous levels of epic thanks to Sagisu Shiro. And then the choir kicks in at 4:22, and it's elevated even higher.
    • The song "Requiem" from the Back Horn was quite epic as well, if not for the awesome ass kicking that goes along with it. When Casshern gets pissed, EVERYTHING pays.
  • Then entire shootout scene from In Bruges had absolutely wonderful music.
  • When REM stepped in to score Man on the Moon, a film named after one of their songs, they delivered a lovely instrumental soundtrack plus the new song "The Great Beyond". It's a companion piece that manages to be poignant yet triumphant, wistful yet joyful, and more than worthy of the original (to say nothing of its subject).
  • Kenneth Branagh's Henry V's "Non Nobis Domine." It's a bit of Soundtrack Dissonance with the soft single voice starting the song and the voices that join it to finish in triumph as a bloodied Henry walks the muddy battlefield with a dead boy (an young Christian Bale) on his shoulder. It's still a great piece of music for a great film. The fact that the scene is a single shot is pretty awesome too. Trivia: the single voice that begins Non Nobis Domine is the composer Patrick Doyle.
  • Again in a Kenneth Branagh film: the music for the opening titles of Much Ado About Nothing.
  • The beats from the final fight in Jackie Chans Georgeous will mesmerise you. Part of why it's one of the most glorious fight scenes ever.
  • The opening of the Watchmen movie. A six-minute montage of the characters' backstory, soundtracked all the way with Bob Dylan's "The Times They Are A-Changin'". Absolute perfection.
    • Dan and Laurie's sex scene, with Cohen's Hallelujah. This is made even better by how the Leonard Cohen version was always meant as a straight Gospel song, which Jeff Buckley later covered as a sexy song.
    • Hendrix's cover of "All Along the Watchtower" as Nite Owl and Rorshach cross Antarctica to confront Ozymandias.
      • Philip Glass scoring John Osterman's transformation into Dr. Manhattan; "Sounds of Silence" for The Comedian's funeral; "Ride of the Valkyries" for Dr. Manhattan and The Comedian annihilating the VC...
    • From the Director's Cut, the Death of Hollis Mason... Set to the themesong of Raging Bull. It's awesome. Clip viewable here. Fun starts at around 2:10.
    • "Everybody Wants to Rule the World" by Tears for Fears in the background of Veidt's meeting with the CEOs.
    • Nat King Cole's "Unforgettable" in the movie is quite inspired.
    • My Chemical Romance's cover of Desolation Row
  • Cinema Paradiso's main theme is nothing short of amazingly beautiful. Bonus points for a nostalgic feel.
  • Trevor Rabin's HANDS-DOWN greatest work (it's a travesty the entire score hasn't been released) is the music for Remember the Titans. The only official release of music from the score (found in the last track of the CD) combines all the movie's main pieces into seven-and-a-half minutes of music that alternately makes you want to sprint up Mt. Everest, beat the living daylights out of opponents, cry, and, well, outrun a football team to win the state championship.
  • Big Boots by Hello Stranger. The opening song of "Good Dick", and you won't even find the lyrics online.
  • "It's not. Going to stop. 'Til you wise up." Magnolia was partly based on Aimee Mann songs, and one is actually sung by the characters in a key (and iconic) scene.
  • The title theme of the film Blue Thunder is a classic, unforgettable riff that shows up whenever the titular helicopter appears.
  • The Passion of Joan of Arc. Yes it's a silent movie, but Richard Einhorn released a definitive score, "Voices of Light" in 1994. Have a listen to a bit, read the libretto.
  • Thomas Newman. He scored Shawshank Redemption, for goodness' sake!
    • In the same movie, you KNOW you choked up when that aria from "The Marriage of Figaro" swelled on the loudspeakers and all over the prison.
  • David Arnold's soundtrack to Independence Day. The aliens' shields are down, they're preparing to fire their primary weapon, and all the fighters are out of missiles. Who flies in to save the day? Why, the drunken barnstorming cropduster pilot — with his own friggin' theme music! (And the main theme to this movie wasn't bad either.)
  • Whatever its issues, Dune, the original David Lynch film, the main theme is pretty epic. Especially when it's reprised to scenes of Fremen mounting giant SandWorms into battle!
    • "Paul Meets Chani" by Brian Eno is truly haunting. It definitely makes you think of a desert fortress on some lost planet. Tell me of your homeworld Usul...
  • The performance of The American Symphony at the end of Mr. Holland's Opus. The whole movie covered the creation of this piece of music, and it did NOT disappoint.
  • Serenity. The music that plays as River Tam says "My turn." and charges down the hall to decimate the Reavers and close the blast door is just epic.
    • The end credits music is good too.
    • The Serenity theme. When we first see the ship the music starts out so soft and melancholic and then turns into this energetic and cheerful ode to freedom... Awesome!
  • In The Devils Rejects, the Allman Brothers "Midnight Rider" over the opening credits.
  • The Disney movie Hocus Pocus is nothing particularly special, but in one sequence Bette Midler does a performance of "I Put a Spell on You" that has to be heard to be believed.
  • Peter Murphy singing 'Bela Lugosi's Dead' in the opening sequence in The Hunger, a scene that is more or less the orgasm of goth culture.
  • From The Blues Brothers, "Everybody Needs Somebody to Love" and its immediate follow-up, "Sweet Home Chicago" are the eleven o'clock numbers to end all eleven o'clock numbers.
    • Cab Calloway, kicking it as cool as he'd done fifty years earlier.
    • Blues Brothers 2000 had its faults. "How Blue Can You Get" featuring B.B. King, Eric Clapton, Bo Diddley, Travis Tritt, Paul Schaffer, Koko Taylor, Jimmie Vaughan, Steve Winwood, Isaac Hayes, Charlie Musselwhite, Clarence Clemons, Lou Rawls, and every major living blues performer from the past 50 years, is not one of them.
  • From the movie Enchanted comes Ever Ever After.
  • Georgi Sviridov's waltz from the Russian movie The Blizzard. It's way more famous than the movie itself.
  • Eugen Doga's wedding waltz from A Hunting Accident is so popular it's often played at real weddings.
  • The Soviet-French film Teheran 43 has the beautiful Une vie d'amour.
    • Speaking of Charles Aznavour, his Et pourtant is a classic now though the movie it was written for, Cherchez l'idole, seems to be completely forgotten.
  • Bob Fosse's All That Jazz gives us this climatic cover of "Bye Bye Love".
  • The 20th Century Fox Fanfare.
    • And the Tri Star Pictures theme.
  • The both upbeat and haunting theme from Das Boot. Good movie, too.
  • Although most of The Passion of the Christ is extremely sad, the "Resurrection" ending theme can just blow you away.
  • Say what you will about its overuse in film trailers, but Craig Armstrong's "Escape" from Plunkett And Macleane more than deserves its awesome status, particularly with the truly awesome Big Damn Heroes moment that it's used for in the movie.
  • The X-Men movies don't have much in the way of notable original music, but the opening scene of X2: X-Men United, where Nightcrawler takes out the CIA to Mozart's Dies Irae is too awesome to put into words.
    • John Ottman's title theme from X2: X-Men United rules all before it.
    • X-Men: The Last Stand had some kickass parts like Phoenix Rises.
    • "Logan Through Time" by Harry Gregson Williams, which plays during the opening credits sequence of X-Men Origins: Wolverine, which shows Logan and Victor fighting through various wars over a century. The scene is considered by many to be the best and most interesting part of the movie.
    • The whole X-Men: First Class soundtrack is amazing (it was made by Henry Jackman after all), but special points go to the main theme First Class, Frankenstein's Monster, Sub Lift, and Magneto. Rage and Serenity counts as this and Heartwarming Music.
      • "Rage and Serenity" is especially beautiful because it's a combination of both Charles Xavier's and Erik Lehnsherr's themes. This essay explains in more detail what makes the piece so poignant.
      " 0:42, a small melodic motif is introduced, which seems to generally be used as Charles' theme in the film. This continues to play as Charles acts as a mentor and friend to Erik, showing him the memory, and telling him to try again.

      At 1:19 in the song, Erik's theme comes in. Now, Erik has two themes: a calmer, somewhat arpeggiated electric guitar riff, and a more intense "Magneto" theme, generally used when he is doing something violent. The one used here is the calmer one. However, instead of taking over the music entirely, the guitar actually plays the theme in counterpoint to Charles' theme, not sacrificing its unique timbre, but still blending in with the orchestra to create an amazing sound. The song builds to a climax as Erik finally moves the dish, and then fades away gently as Erik smiles and laughs, and Charles pats him on the back proudly.

      This, more than anything, really enforces the metaphor that Erik and Charles are Rage and Serenity. They have their individual strengths and advantages, but they are stronger when working together to reach a single goal. And working together doesn't erase either of their individual qualities—Erik is still Rage and Charles is still Serenity, just as the guitar is still a guitar and the orchestra is still an orchestra. Together, they create something new and better, something more than a sum of its parts, as the popular saying goes. That's why the relationship between Charles and Erik is so powerful, and why this scene is so emotionally charged—they were practically made for each other, each perfectly complementing the other."
    • X-Men: Days of Future Past:
      • Admit it, you got excited when you heard John Ottman's X2 theme again in this movie, for the first time in 11 years.
      • The sublime Hope (Xavier's Theme) is the standout piece on the soundtrack, as it essentially captures all that is beautiful about Professor X's character.
  • In Zombieland, after the main characters have just kicked a metric ton of zombie ass in the theme park, the Raconteurs' "Salute Your Solution" plays as they ride off and the credits roll. AWESOME.
    • Also, Metallica's "For Whom the Bell Tolls" plays over the opening credits set to slow-mo zombie attacks.
    • Also, The song "Ecstasy of Blood" by David Sardy which is played at Tallahassee's amazing zombie stand off. Where it is implied that he is sacrificing himself, when in reality he ends up killing all the zombies that chase him.
  • The song "Axel F" from Beverly Hills Cop is incredibly catchy. Even though it is two decades old, it was featured on an episode of Family Guy and also used in a scene in Monsters vs. Aliens. According to The Other Wiki, it topped musical charts in 1985, and remixes of it topped European musical charts in 2003!
  • The theme from the teasers for the still-in-production movie Iron Sky, a comedy about Nazi spacemen.
  • Shoot 'em Up takes very little time to bust out the guns and high octane action sequences. "Breed" (by Nirvana) kicks in and sets the tone for the movie: super awesome.
  • The Villain Song "Choose Your Poison" from The Return of Captain Invincible gets bonus points for being sung by none other than Christopher Lee.
  • Paint Your Wagon has They Call the Wind Maria.
  • Old Boy has a lyrical and creepy theme, epecially if you picture Oh Dae-Su as he walks, smiling when the suicidal guy hits the ground behind him. And the words in his head: "Laugh, and the world laughs with you. Weep, and you weep alone." AWESOME!
  • Steven Soderbergh's movie The Informant! is awesome enough to begin with, but the music by Marvin Hamlisch is even better. Especially "Car Meeting."
  • The Jam's "A Town Called Malice" in Billy Elliot, when Billy just explodes from his Small Town Boredom and goes dancing thorugh the streets.
  • Brandon Lee's transformation scene in The Crow — set off to The Cure's "Burn."
    Oh, yes....
  • From Aliens vs. Predator: Requiem, we have the songs Decimation Proclamation, Requiem Overture, and the end credits, which combine both.
  • At the end of Xanadu, Kira and the other muses perform a montage of random songs. And after a truly godawful stereotypical country debacle the movie X wipes and the muses dance to a low key instrumental humming accompanied by a choir. Suddenly the music takes a turn for the best and violins chime in heralding a reprise of the title song. And... it... is... awesome!
  • School of Rock. "And if you wanna be the teacher's pet..." Also, "The legend of the rent was WAY HARDCORE!!!"
  • 1969's Battle of Britain was scored mostly by fairly standard martial music — a bombastic march for the Germans, and a heroic theme for the British. Then they reached the final air battle, turned off the sound effects, and let William Walton's music take over. No machine-guns, no explosions, no dialogue, just amazingly, hauntingly awesome music as two air forces fight tooth and nail in the skies of southern England.
    • This nearly didn't happen - the producers had planned to completely throw out Sir William's score in favour of a Ron Goodwin replacement. The film's star (and friend of the composer) Laurence Olivier was furious when he found out, and he threatened to take his name off the film if some of Walton's music wasn't retained. (The soundtrack CD features both composers.)
    • On the subject of Ron Goodwin, the composer for Battle of Britain, the theme from Where Eagles Dare.
    • Goodwin also wrote the music for the four Miss Marple movies starring Margaret Rutherford and the rolicking theme for Those Magnificent Men in Their Flying Machines.
    • His epic 633 Squadron theme
  • The Famous Dambusters March, which has arguably become more famous than the movie it is from. It's even more awesome because (according to the composer's son), the piece was not actually written for the film, but as a stand-alone, Elgarian style march, as the march's composer Eric Coates disliked writing film music.
  • The Departed has an amazing soundtrack, but the greatest song in the set is undoubtedly Dropkick Murphys' Shipping up to Boston. You know, the punk rock song with bagpipes.
  • Office Space "Damn, It Feels Good to Be a Gangster !" Especially with Peter's stone cold indifference in that scene, as well as "Still" by Geto Boys, the music in the copier scene.
  • From Mr. and Mrs. Smith, El Tango de los Assassinos
  • There's also Kenji Kawai's masterpieces from the Kung-Fu movie Ip Man, one of the best and most memorable being "Battle for Righteousness"
  • Bill & Ted's Excellent Adventure:
    • The guitar solo Bill and Ted play at the end of Bogus Journey, which was recorded by Steve Vai.
    • 'In Time', the song heard in the background when the malfunctioning booth sends Bill and Ted into the enlightened future to a pre-emptive heroes' welcome. It underpins perfectly a sequence that shows the value of what they've been asked to protect.
    • Bricklin - Walk Away? It's the music that the report begins to and it gets better if you listen to the whole song.
    • And "God Gave Rock And Roll To You II" by KISS, into which the aforementioned guitar solo segues for the credits.
  • The opening theme to Cecil B. Demented, by Moby. Awesomely distorted.
  • Nick Glennie-Smith's score to We Were Soldiers. It is an incredible soundtrack that really fits the story. But the part that sticks out the most is the piece that plays during the end credits. It is entitled Mansions of the Lord, and it is so unbelievably beautiful.
  • The Eurythmics Concept Album / Soundtrack to 1984. The whole album oozes despair and paranoia - completely fitting to the subject matter. "Doubleplusgood" is as high-energy and paranoid as a cocaine binge. "Room 101" is horror in soundtrack form. Samples from all the tracks here.
  • In Good Bye, Lenin!, the national anthem of former East Germany is used awesomely in a rousing (if fake) news broadcast.
  • "Let the River Run" by Carly Simon from the Working Girl soundtrack. Powerful, uplifting, and the musical embodiment of the American Dream.
  • The "Jungle Dance" from the original King Kong. So awesome, they re-used it as the in-world music in the theatre scene.
  • Carter Burwell's incredible score for Millers Crossing. Also, the Momentof Awesome attempted assassination to the tune of "Danny Boy."
  • The song that plays over the start of the end credits for Snow White & the Huntsman is the absolutely epic Breath of Life by Florence + The Machine.
  • In the French film Le Concert, the main orchestra is going to play Tchaikovsky's Violin Concerto in D major, Op. 35, and they haven't rehearsed at all. The start is a bit wobbly due to the lack of rehearsing, but after Anne-Marie begins her solo, the orchestra manages to reach spontaneous harmony. See the concert here (all speaking in Spanish).
  • From Millions, "House Building", which combines a serene, beautiful, heavenly choir with something truly badass.
  • Silent Hill: Revelation 3D has some music based off of tracks from the original games. "Vincent Condemned" is a pretty awesome and heavy piece of music that sounds like one half Terminator theme, with the other half being "Memory of the Waters" from Silent Hill 3.
  • Several performances from Velvet Goldmine could qualify, but a particular standout is Ewan McGregor's rendition of Iggy Pop's "Gimme Danger." Sadly, it was not included on the soundtrack. The instrumental section in the middle featuring two different lead guitar solos being played simultaneously is an incredible trip!
  • The On Golden Pond theme by Dave Grusin.
  • From Elizabeth The Golden Age we have "Storm". It's even used in a trailer of Man of Steel and it worked well.
  • Dario Marianelli. Atonement. "Elegy for Dunkirk". Wow.
  • Oblivion (2013): The theme song, "Oblivion", by M83 and Susanne Sundfřr. The whole soundtrack definitely fits here.
  • Whiplash: Being a film about jazz and the perfection of executing, this is to be expected. The sound mixing goes a long way to immersing the viewer in the characters' main performance showcase, with the climactic drum solo standing out.
  • Snow White & the Huntsman has "Breath of Life" by Florence + the Machine..

AnimeSugarWiki/Awesome MusicLive-Action TV

alternative title(s): Crowning Music Of Awesome Film
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