Mel Brooks' films have become (in)famous for their outrageously zany and unpredictable comedic performances, but they also contain some absolutely glorious, showstopping, Earworm-y tracks, most of which are written and sung by the man himself. Notable tracks include:
The title music of A Clockwork Orange is an electronic synth-y version of Henry Purcell's "Music for the Funeral of Queen Mary" by Wendy Carlos.note At the time, still known as Walter Carlos. It is absolutely MAJESTIC and adds an eerie atmosphere to the opening scene.
Regardless of what you thought of Final Destination 5, it's hard to deny that its opening theme is insanely epic.
When Hit-Girl runs along a hallway in D'Amico's shooting all of his mooks to "Bad Reputation" by Joan Jett and the Blackhearts.
More epic music for Hit-Girl, how about a re-done verison of a theme song children's show while kicking the ever-living hell out of a bunch of thugs and impaling the lot of them? Ladies and gentlemen, The Banana Splits as done by The Dickies.
The epic credits song, Mika is awesome enough, but Kick Ass just cranks his epicness to 11!
Randy Edelman is so good at making awesome music that even though he hadn't won any Oscars, his music was being used at the Oscar ceremonies. Some of his famous works include Dragonheart theme, and Dragon: The Bruce Lee Story among others.
The classic example is in Dragon: The Bruce Lee Story where Lee whups the bully who previously paralyzed him by kicking him in the back. At that moment of victory, there is a memorable swell of orchestral music that has been used in multiple trailers ever since.
Last of the Mohicans finale "Promontory" makes the (dialogue-free) last 10 minutes of the film breathtaking. It's also a Dark Reprise of two other pieces in the soundtrack, "The Gael" and "Main Theme", both of which are Awesome Music from the beginning and middle of the film; composed by Trevor Jones and Randy Edelman so you get two major composers for the price of one.
Actually, the more lyrical music for the film (including the theme) is by Jones solo; Edelman does the more synth-overlaid cues.
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.
The Queen of the Damned movie would not be a tenth as good without the soundtrack, which was done by Johnathan Davis of Korn. Although he only sings in the movie as Lestat's voice, he wrote all the songs which were performed by several rock musicians, such as Chester Benington and Marilyn Manson. The best songs are Forsaken, System, and Redeemer.
Michael Giacchino's score for the 2009 Star Trek movie has two settings: EPIC, and Tear Jerker. On the epic side, there's the incredible rendition of the TOS theme in "End Credits", as well as "Enterprising Young Men". On the Tear Jerker side, there's tracks like "Labour of Love", played during George Kirk's Heroic Sacrifice. And then there's "That New Car Smell". Any piece of music that causes both Manly Tearsand happy memories of Firefly via copious use of erhu has to be worth a listen.
Short Circuit 2- "Holding Out For A Hero" during Johnny 5's epic chase scene, making this both an Awesome AND Funny Moment.
Practically anything composed by James Newton Howard. Particularly awesome examples include:
Red Rider's Lunatic Fringe was used as the theme for Vision Quest.
Also from the same film, Louden Versus Shute by Tangerine Dream. Pure big game music.
The starting theme of the movie Gettysburg has become so iconic most film trailers involving the Civil War use it.
Randy Edelman. Huge mention goes to "Over the Fence", during Pickett's Charge sequence. So epic, Iced Earth copied the melody for their epic song trilogy "Gettysburg 1863" on Day Three.
Richard Kelly faced a problem when scoring the final sequence of Donnie Darko, a montage of characters visibly shaken by a disturbance in the space-time continuum: there was a song with haunting, bittersweet lyrics which summed up the entire film wonderfully, but musically...well...it sounded like this. After bringing in Gary Jules and Michael Andrews, there was no longer a problem.
At the end of The Wicker Man, all the villagers start singing "Sumer is Icumen In", led by the mighty basso of Christopher Lee, while they burninate Sgt. Howie. But what's really awesome is when Sgt. Howie drowns them all out by reprising his earlier musical version of the 23rd Psalm.
A dissapointingly short but nonetheless good example was also Christopher Lee singing basso at the piano. Christopher Lee should really sing in movies more often.
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.
For an awesome theme...in 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.
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 Futuretheme. 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".
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.
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 U2...it's damn near the most iconic theme in the world.
The Fred Durst and Limp Bizkit version for the second movie is pretty awesome.
Say what you will about the third installment, but a permanent point in its favor is that it has the Mission Impossible theme redone by Michael Giacchino. The fourth. "Light the Fuse" is just perfect.
While we're in Rush Hour, "War". (What is it good for? Absolutely nothing!)
And while we're on Lalo Schifrin... Enter The Dragon. With backup vocals by Bruce Lee. Then there's the live version, where he and a gigantic orchestra raise this theme from "utterly awesome" to "Godlike uber-awesome".
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".
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.
Mercury is strange, short, and incredibly beautiful and relaxing.
HE'S FOR EVERY ONE OF US! STANDS FOR EVERY ONE OF US! HE STANDS, WITH A MIGHTY HAND, F' EVERY MAN, EVERY WOMAN, EVERY CHILD, HE'S THE MIGHTY FLAAAA-ASH!
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.
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. Someof thework he did in India is (*gasp*) asgoodas Slumdog, though not always as showy or...techno-sounding. Even his debut became a classic.
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).
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.
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).
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.
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.
The Deep Blue Sea score is probably Rabin's finest achievement. In "Anarchy" he takes all of the pieces from the movie and puts them together similarly. But even more specifically, the point when the music climaxes is easily the most badass music ever made. Period.
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.)
Speaking of Brian Tyler, another one of his beautiful works is the entirely self-performed (he not only wrote the music but did all the instrumental work on his own in the DVD footage) score from Bubba Ho Tep.
The Rock-Comedy The Rocker has the cast perform an incredible cover-version of Peter Gabriel's "In Your Eyes", which prompts the band's drummer to lose it and fire off an AWESOME and completely mood-killing drum-solo. The song isn't to be found on the OST or anywhere at all.
While Stranger Than Fiction has one of the best scores of all time, one moment which is particularly awesome is at Ana's apartment, when Harold begins playing and singing the only song he knows on the guitar - Wreckless Eric's "Whole Wide World". When he gets interrupted, the soundtrack cuts in with the original track. Rock.
TT-34's "Jack" in Night Watch when Anton fights an invisible vampire, and Simeon carelessly drives his huge truck alongside with Tiger Cub and Bear to save him. So awesome it was back in Day Watch, its sequel, when Olga (actually Anton in Olga's body) is running away from an enraged Zavulon with cars blowing up behind her.
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.
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.
"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.
"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.
"...at 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."
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.
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."
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.)
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.
Another from Michael Giacchino: The soundtrack of the Speed Racer film was amazing at all times, but the piece entitled Reboot, which plays as Speed goes from dead last to first place after jump-starting his car, is just beautiful.
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.
Amazingly, Agent Cody Banks 2: Destination London spawns a pretty epic cover of Edwin Starr's "War", especially combined with the fight going on behind it. It's still chill-inducing even over 10 years later.
Barbra Streisand's finale at the end of Funny Girl. Her amazing vocal power and emotion in that scene was most certainly a key factor for her to win the Oscar for best performing actress-the only Oscar ever that was a tie.
The wrenching scene in Hotel Rwanda which finds a priest and several nuns escorting orphans to the hotel, where they and other foreigners are to be safely evacuated while the Rwandans are left behind is accompanied by a beautiful piece of African choral music that just makes the scene all the sadder—but the same music is played over the ending, where having escaped the slaughter, the main character and his wife reach a refugee camp where they are reunited with his brother's children.
Interstingly, the Clash At Demonhead "cover" of "Black Sheep" is widely regarded to be better than the original. The actress Brie Larson is a singer, and embarrassingly, she rather shows up Emily from Metric. Frustratingly, no CD-quality version of it is available.
There's also the Bass Battle between Scott and Todd Ingram.
When it comes to the Pop-Star Composer trope, no Disney effort can collectively touch the tunes David Bowie wrote and performed for Labyrinth. Playful ("Magic Dance", "Chilly Down"), wickedly tender ("As the World Falls Down"), thunderous ("Within You"), exhilarating ("Underground")...oh so Eighties, oh so right.
It's the mid-1980s. Some bright spark decides to adapt the The Destroyer series for cinema. It's not a financial success, so sadly no follow-ups are made. But it has more than its fair share of awesome moments...and Craig Safan composes a bitchin' good, none-more-80s top-notch action hero theme for Remo Williams The Adventure Begins.
TRON. The Wendy Carlos music is brilliant (the fact that the real-world music is mainly orchestral while the computer-world music is mainly electronic, was a brilliant touch), but the two Journey tracks are also great.
Alien: James Horner's action score for Aliens can be heard in countless trailers, while Eliott Goldenthal's score for Alienł, especially "Adagio" is the best part of the film.
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.
"End of the Line", played during the film's climax where Bucky saves Steve from drowning.
Patrick Doyle's Thor really needs to be here. This ending sequence is breathtaking, combining beautiful cosmic imagery with epic music. Incidentally this music was also used during his Theme Music Power-Up.
More Doyle! You would expect it from a kid movie called A Little Princess but there are some breathtaking pieces, particularly "The Trenches", "Captain Crewe and the Solider", "The Escape", and "Papa" (the last of which is also part Tearjerker turned Heartwarming Moment).
Ghost Rider. The cover of the song "Ghost Riders in the Sky" by the band Spiderbait in the ending credits (and also an instrumental of the same song while the two ride) is simply awesome. Listen to it here.
The Joshuu Sasori series has two haunting, highly emotionally charged, slightly surreal and all-round incrediblesongs across the four first films. The fourth film is named after the more famous one. Both are beautifully sung by Meiko Kaji, the main actress, who is also a respected enka singer in her own right, and is known fordoing songsfor her films.
Monty Python's music tends towards the silly rather than the awesome, but there is no denying that "Brian" (fromMonty Pythons Life Of Brian) has a suitably epic and awesome feel even if the lyrics are things like "And he started to shave / And have one off the wrist / and want to see girls / And go out and get piiiiiiiiissssed!" Gilliam's animation doesn't hurt the sequence any.
The soundtrack to The Hunger Games. Chilling, majestic, triumphant, everything it needed to be and more. It was perfect.
The national anthem of Panem, called Horn of Plenty, is played regularly in both the first movie and the second, given its ceremonial role in Panem and the Hunger Games. It's both awesome and suitably impressive to be an actual national anthem.
Many Wu Xia movies and TV series use music that can stir you up inside, even if you have no idea what they're saying. Examples:
Christopher Young's entire score for the original Hellraiser film is dark, foreboding, mysterious, and imposing. Awards must be given for his "Resurrection" track, which played during Frank's fleshy resurrection as a skinless monstrosity back into the earth from the world of the cenobites.
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.
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 music that plays during Mako's childhood trauma and when Otachi spreads her wings and carries Gypsy Danger into the sky sound very influenced by Akira Ifukube, quite possible the greatest Godzilla composer ever, and are riveting.
The ending credit music to the little known film Pass the Ammo. It's a catchy criticism of Televangelism done in the style of Gospel.
The soundtrack for the original Emmanuelle film was done by the legendary Pierre Bachelet and includes such great songs as "Emmanuelle in the Mirror" (warning: the link contains the soundtrack's mildly NSFW cover art), which perfectly encapsulates the quiet unhappiness that drives the title character throughout the film, and the trippy "Emmanuelle Swims".
Charlie and the Chocolate Factory has so many different genres of good tunes, you'd swear The Backyardigans were involved. Considering that Deep Roy (the actor for all the Oompa Loompas) comes from and is quite famous in Bollywood, this is not in the least surprising. He was an inspired casting choice, and not only did composer Danny Elfman work from Dahl's original text for the lyrics, he used a different musical genre for each song and made each into a production — and satire — worthy of the original book. That part, at least, was dead-on.
In Astro Boy: The title theme (played in variation the first time Astro flies, over the end credits, and a few other times) is truly gorgeous.
Fittingly for a film about a superhero with enhanced hearing, the music for Daredevil is just as big a part of this movie as the costumes or the background sets.
Drowning Pool and Rob Zombie's "Man Without Fear", which was written especially for the film (although the title being Daredevil's Red Baron probably gave it away) and was Drowning Pool's first song to be released following the death of original frontman Dave Williams in 2002.
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.
From the score, the song "Victory" at the very end of the film, which is an epic variation of "Searching For Peeta" from the first film, particularly towards the end.
"Prologue: Into the Woods" is amazing in the stage version of Into the Woods, but the film version is really something special. Especially at the very end, where all the different voices and lyrics come together and flawlessly harmonize and flow with each other... it's enough to drive you to tears, and for fans of the stage show, this was the first major sign that all their worries about the adaptation were for naught, and that this was going to be a good movie.