Here’s something that doesn’t get discussed a lot - the soundtrack to Space Jam contained five Top 40 hits, four of them being Top 10 hits that made 19 a time that you couldn’t escape this soundtrack if you tried. And while it’s a crime Bananarama’s “Cruel Summer” was left off, you get your New Wave fix with Commuter (“Young Hearts”) and Baxter Robertson (“Feel the Night”), two songs that will legitimately dent your soul. Even then, nobody was listening to Joe Esposito’s “You’re the Best” without singing along ironically (hell, it was rejected by Rocky Balboa himself), but they were rocking out to Gang of Four (“Desire”) or Broken Edge (“No Shelter”). But, like any story that’s repackaged for a younger audience, it’s gotta be hip, and that’s essentially what this soundtrack is - at least for the time. Avildsen behind the camera again and his buddy Bill Conti added yet another triumphant score to make everyone believe that an underdog could rise to the top. Look, The Karate Kid is basically Little Rocky. It doesn’t quite hit the lofty mark of Prince’s interpretation, but thanks to Seal’s powerhouse song and U2’s surprising gem, it definitely comes close. Though only a few of its songs appear in the film, the soundtrack picks up the ball Schumacher so casually dropped with a deep mélange that helped illustrate Batman’s gritty nature, Robin’s empowered gall, Riddler’s manic depravity, and Two-Face’s fractured distress - all things effectively absent within Schumaker’s obtrusive vision. The less said about Joel Schumacher’s Batman films, the better, but kudos has to be given to the soundtrack for his first attempt. The final result is a soundtrack of unforgettable moments like Juno and Paulie dueting “Anyone Else but You” and the latter completing his morning routine to The Kinks’ brilliant “A Well Respected Man”. So taken by Dawson’s music was Reitman that he had her re-record instrumentals and humming to use for scenes and commissioned Mateo Messina to use her style as the basis for the scored parts of the movie. While Juno MacGuff may dig the raw power of Iggy and his Stooges, having indie vet Kimya Dawson’s soft voice and oddball lyrics floating in during transitions or when Juno’s faced with a difficult moment feels like a far better match. One of those is a soundtrack that almost acts as an interior monologue for the title character. Jason Reitman and Diablo Cody’s quirky dramedy about a misfit teenager who finds herself two months pregnant and decides to have and adopt out her baby gets a lot of things right. Let us know what you think we missed, but in the meantime, sit back and take a whirlwind trip through music in cinema with our picks for the 100 Greatest Movie Soundtracks of All Time. As with any list of this size, there are bound to be disagreements as well as some soundtracks that should have made the cut. We avoided musicals, band movies, concert films, and scores in this regard, focusing solely on the best use of popular music in film, combing through movies from the ’60s all the way up to 2017 until we had our picks. More importantly, we looked at the soundtracks that enhanced the film and went hand-in-hand with its tone and story, giving you greater insight into pivotal scenes and character growth. We came across those movies that made hits out of otherwise obscure songs, while also taking into account films that hijacked a popular song and made it indistinguishable from the film itself. We found plenty of soundtracks that excelled by using subtle songs in the periphery of pivotal scenes, and we also came across films that dropped the music right into the story, as part of the plot or even as a character itself. Editor’s Note: This article was originally published in November 2017.Ĭonsequence set out to take a look at what exactly makes a film soundtrack great, something that seemed much easier on paper than in execution.
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