Mary Chapin Carpenter Songs From the Movie Review
The 50 best uses of songs in movies
Time Out New York ranks the coolest soundtrack moments of all time
Colloquially, it used to exist chosen the "needle driblet"—when a Martin Scorsese or Quentin Tarantino picked a slice of preexisting music and laid it down under a dramatic scene, with seismic results. We've thumbed through our stacks of wax (i.e., Blu-ray collections) to collect movie house'south well-nigh strong examples, allowing for iconic uses of classical music and jazz along with the expected pop hits. One parameter, though: no songs equanimous for the picture itself. (Sorry, Simple Minds.) The result is our most toe-borer listing to date. Just do let us know if we've left out your favorite jam.
fifty. "Orinoco Flow (Sail Away)," Enya, The Daughter with the Dragon Tattoo (2011)
In David Fincher'southward latest antiseptic thriller, the murderer has all the usual instruments of torture: poison gas, sharp scalpels, immobilizing slings. Just most harrowing of all? A gustatory modality for blasting Enya'south cloying striking vocal at eye-glazing volume. (We don't have the clip—and wouldn't want to ruin the killer's identity for you anyway—but here'southward that cool trailer again.)—Keith Uhlich
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49. "Hip to Exist Square," Huey Lewis and the News, American Psycho (2000)
True to the spirit of the novel, this adaptation of Bret Easton Ellis'due south serial-killer satire uses Huey's catchy hitting single to score the cutthroat dispatching of a Wall Street rival. Christian Bale alternates gleeful critical assessments with grisly ax thwacks, making this superficially slick '80s tune emblematic of the ultimate Reagan-era hollow homo.—David Fear
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Watch the video for "Hip to Be Square" by Huey Lewis and the News
48. "You Never Tin can Tell," Chuck Berry, Lurid Fiction (1994)
Of the many peppy, pop-culture-charged scenes in Quentin Tarantino's landmark crime one-act, few pack the light-headed punch of this Jack Rabbit Slim's musical number, prepare to a Chuck Berry jaunt. Uma Thurman slinks with feline grace, and John Travolta proves he's however got the Tony Manero moves.—Keith Uhlich
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47. "He Needs Me," Shelley Duvall, Punch-Drunk Dear (2002)
The lilting love anthem from Robert Altman'due south 1980 Popaeye was brilliantly repurposed past Paul Thomas Anderson for his quirky romance: Adam Sandler races to join inamorata Emily Watson in Hawaii. When they finally encompass, the music flourishes and the blitz is palpable.—Keith Uhlich
Buy, rent or watch Punch-Drunk Love
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Watch the video for "He Needs Me" past Shelley Duvall
46. "Some Velvet Morning time," Lee Hazlewood and Nancy Sinatra, Morvern Callar (2002)
A psychedelic groove of soap-opera strings and lyrical menace accompanies Samantha Morton, lost in her headphone cloud, as she cruises to her McJob at the supermarket. It'southward a perfectly rendered Gen-Any moment, an interior mood that few filmmakers have nailed as expertly as Scotland's Lynne Ramsay.—Joshua Rothkopf
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45. "The Times They Are a-Changin'," Bob Dylan, Watchmen (2009)
Zack Snyder's true-blue-to-a-fault accommodation of Alan Moore and Dave Gibbons'due south influential graphic novel is a dud, save its mesmerizing, Bob Dylan–scored opening-credits sequence. Dylan'south folk prophecy poetically complements the history of the story's superhero protagonists, from their WWII heyday to a Vietnam-era fall from grace.—Keith Uhlich
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44. "Natural'due south Not in It," Gang of Four, Marie Antoinette (2006)
Sofia Coppola'southward threading of anachronistic postpunk into her portrait of the 18th-century queen prompts head-scratching among historical purists. But kicking things off with Gang of Iv's Marxist critique is inspired: The song immediately puts displays of conspicuous consumption within contextual air quotes. (Here's the trailer, with a taste of Gang of Four at the 0:xxx mark, along with other artists.)—David Fear
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Watch the video for "Natural's Not in Information technology" by Gang of Four
43. "Danny Male child," Frank Patterson, Miller'due south Crossing (1990)
It's ironic enough for an Irish gaelic crime boss to be assassinated in his bedroom while listening to this ballad. Notwithstanding the Coen brothers rev up the humor massively by having the wistful gent (the mighty Albert Finney) actually survive the hit, returning a hail of submachine-gun fire while his favorite vocal calmly concludes.—Joshua Rothkopf
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42. "These Days," Nico, The Royal Tenenbaums (2001)
Gwyneth Paltrow is immortalized as the alluring, raccoon-eyed Margot Tenenbaum in Wes Anderson'south slo-mo tracking shot, which captures a sweetness reunion, a hint of nostalgia and the filmmaker'south signature coziness, all wrapped up in the Teutonic loveliness of Nico'due south serenity voice. If Anderson's choices were always this restrained, he'd be a giant.—Joshua Rothkopf
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41. "Imagine," John Lennon, The Killing Fields (1984)
This Oscar-winning drama about an American journalist and his captured Cambodian translator uses John Lennon's hit to finish on a high annotation. The former Beatle's wish-listing lyrics and the moment's emotional uplift—a tearful reunion—make such utopian fantasies seem both noble and absolutely necessary.—David Fear
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40. "Making Time," the Creation, Rushmore (1998)
Here's the moment when Wes Anderson truly arrives, forever to alive in the hearts of geeky obsessives with this montage of Max Fischer'south extracurriculars, ranging from "bombardment order founder" to the managing director of the Max Fischer Players. The forgotten band that penned the tune, a lesser Who, supplies the attitude.—Joshua Rothkopf
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39. "Just Dropped In (To Encounter What Condition My Status Was In)," the First Edition, The Big Lebowski (1998)
Jeff "The Dude" Lebowski knows his way effectually narcotics, but he's surely never had a trip quite like the bowling-alley dream sequence in the Coens' profanely funny comedy. Wagneresque chorines, scissor-wielding nihilists and a Kenny Rogers ditty combine for maximum, listen-altering surreality.—Keith Uhlich
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38. "Unchained Melody," the Righteous Brothers, Ghost (1990)
How many viewers wanted to have up pottery later on watching this famous lovemaking sequence—scored to a sublime, Phil Spector–produced serenade? The romance is every bit shamelessly gloopy as Demi Moore'due south moist molding clay, but boy, does it make us swoon.—Keith Uhlich
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Watch the video for "Unchained Tune" by the Righteous Brothers
37. "Patricia," Perez Prado Orchestra, La Dolce Vita (1960)
If the films of Federico Fellini can be likened to i glamorous late-nighttime party, unbound and spinning out of control, then here's the organ-drenched soundtrack, equal parts prim and perverse. A drunk party girl sheds her dress (and shame) in this, the well-nigh notorious scene of the manager's career.—Joshua Rothkopf
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36. "Caput Over Heels," Tears for Fears, Donnie Darko (2001)
In a terrific early on scene from Richard Kelly'south cult debut, Jake Gyllenhaal's depressive, time-traveling outcast takes a long walk down his high-school hallway. Assembled into a single, unbroken take, it'south as if we're gliding through one morning time in our own angst-ridden teen being—simply with a improve soundtrack.—Keith Uhlich
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35. "You Can't Always Get What You Want," the Rolling Stones, The Big Chill (1983)
Effortlessly evoking the disappointments of the boomer era, Mick Jagger'southward profound lyric lends weight to this motion-picture show's early on knockout scene, a funeral procession for a suicide. As we get to know these reuniting friends, we only hope they'll get what they need. (This clip isn't the full sequence, but you get the vibe.)—Joshua Rothkopf
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34. "California Dreamin'," the Mamas & the Papas, Chungking Express (1994)
The beaches of Malibu are a earth manner from the crowded noodle stalls of Hong Kong, but damned if director Wong Kar-wai doesn't make it work. His missed-connection romance, between a world-weary cop and a pixieish young woman, gets a dreamy injection of urban ennui via John Phillips & Co.'s '60s pop hit.—David Fear
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33. "I Got You Babe," Sonny & Cher, Groundhog Day (1993)
"Then put your niggling hand in mine," yowls Sonny Bono on the radio promptly at 6am, twenty-four hour period after day after day, to the blinking frustration of cosmically trapped weatherman Bill Murray. Even equally nosotros express joy, the song's chorus takes on dark overtones—someone's "gotten" indeed. No other tune would have been as maddening.—Joshua Rothkopf
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32. "My Sharona," the Knack, Reality Bites (1994)
The quintessential scene from Ben Stiller's Gen-Ten-catering romance takes place in a Food Mart every bit Winona Ryder and up-and-comers Steve Zahn and Janeane Garofalo "ironically" go down to this exuberant new-wave track. An embarrassed Ethan Hawke cringes on behalf of all involved.—Keith Uhlich
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31. A Dear Supreme, John Coltrane, Mo' Better Dejection (1990)
Spike Lee originally named his jazz film after John Coltrane's epic four-part suite, before the musician's widow asked him to change the title. Thankfully, she let Lee borrow part of the song to add resonance to the moving-picture show'south climax, in which Denzel Washington's troubled trumpeter starts a family and finally finds inner peace.—David Fear
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xxx. "Bohemian Rhapsody," Queen, Wayne's World (1992)
Who tin can forget Wayne and Garth's headbanging downtown drive to this operatic ability ballad? Director Penelope Spheeris was hesitant to use the song, but costar Mike Myers insisted, and its popular-cultural status soared. If a recent Muppets cover is any indication, this is the striking that keeps on giving.—Keith Uhlich
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29. "Perfect Twenty-four hour period," Lou Reed, Trainspotting (1996)
Whether Reed's tune is a direct reference to heroin has been long debated, merely what isn't arguable is how effectively Danny Boyle employs it—as an overdosing Ewan McGregor imagines he's in a shag-carpeted bury. The song's blissful lyrics make this junkie nightmare even more agonizing; it'south the "perfect" example of needle-driblet irony.—David Fear
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28. "Former Time Rock and Roll," Bob Seger and the Silver Bullet Band, Risky Business organisation (1983)
From 1983—a time when the whole world could love Tom Prowl unreservedly—comes this euphoric scene of geeked-out underwear dancing, fix to the scratchy bar-ring stylings of Bob Seger. Cruise even jumps on a burrow and it's okay.—Joshua Rothkopf
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27. "Oh Yeah," Yello, Ferris Bueller'southward Solar day Off (1986)
John Hughes, that poet of teen-pop angst, was bound to appear on this list somewhere. Not then surprisingly, it's via this Swiss-recorded trip the light fantastic beat, a perfect complement to the Ferrari-stealing antics of the title character. But try non smile (devilishly) when you hear it.—Joshua Rothkopf
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26. "Blue Moon," Sam Cooke, An American Werewolf in London (1981)
David Naughton's lupine transformation is prepare to Cooke's crooning cover of the Rodgers and Hart standard, making information technology the most memorable (and jarring) of John Landis's wink-nudge musical choices. Rick Baker's groundbreaking makeup piece of work may bring on the howling, but this lunar ballad adds a dark dose of levity.—David Fear
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25. "Tiny Dancer," Elton John, Almost Famous (2000)
Never underestimate the healing power of Elton John: As the '70s rock ring of Cameron Crowe's autobiographical drama piles into its tour double-decker, everyone's in a funk. So this uplifting 1971 tribute to an L.A. lady comes on, and soon, everybody is singing along—including you.—David Fearfulness
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24. "Rock Around the Clock," Neb Haley and the Comets, Blackboard Jungle (1955)
Rock & gyre was the soundtrack to juvenile delinquency, and so how better to kick off a film about high-school hoodlums than with a real poodle-skirt scorcher? Bill Haley'southward 1954 B-side turned on tons of teens to this raucous new audio—the start utilize of rock music in a movie, but far from the terminal, Daddy-o.—David Fear
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23. "Didn't I (Blow Your Mind This Fourth dimension)," the Delfonics, Jackie Brown (1997)
This impassioned 1970s unmarried is the soul of Quentin Tarantino'southward most romantic film: Robert Forster's grizzled bond-bondsman hears the melody in the living room of beleaguered, beautiful client Pam Grier. It sends him from charmed to infatuated—and straight to the record store.—Keith Uhlich
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22. "Hurdy Gurdy Man," Donovan, Zodiac (2007)
This well-nigh-primal scene starts with two young adults flirting in a Corvair at a lovers' lane, until the headlights of a mysterious car pull up behind them. Suddenly, the song on the radio tin but signify evil. Past the time David Fincher returns to Donovan's sinuous groove in his closing credits, the melody has been transformed. (A clearer clip of the scene is hither.)—Joshua Rothkopf
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21. "The Sound of Silence," Simon and Garfunkel, The Graduate (1967)
Hello darkness, my erstwhile friend: The signature runway off the duo's 1966 album perfectly underscores Dustin Hoffman's descent into suburban bummersville, every bit the vocal's tune casts a melancholic pallor over his interchangeable lazy afternoons and numbing sexual trysts.—David Fear
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twenty. "Goodbye Horses," Q Lazzarus, The Silence of the Lambs (1991)
When cross-dressing series killer Jame "Buffalo Bill" Gumb primps and sashays in a strange interlude from Jonathan Demme's suspense classic, he's listening to this enrapturing pop song. The queasy scene became a pop-cultural touchstone, parodied by anybody from Kevin Smith to Family Guy.—Keith Uhlich
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19. "Be My Baby," the Ronettes, Mean Streets (1973)
From the moment the wall-of-sound drums kick in to Harvey Keitel'due south head hitting his pillow, Martin Scorsese's 'hood opera takes personalized-jukebox movie theater to a new level. When the song's harmonies sync upwardly with the Super-8 credits, it'south similar Scorsese'south career in miniature: movies and mobsters, street culture and popular culture.—David Fear
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18. "Where Is My Mind?," Pixies, Fight Club (1999)
"Trust me, everything'due south going to be fine," says Edward Norton in the final seconds of David Fincher'due south unclassifiable thriller, as the skyline explodes exterior the window. Buildings autumn, two easily clasp tenderly, and the future is uncertain. The keening voices of Frank Black and Kim Deal seal the mood.—Joshua Rothkopf
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17. "Bela Lugosi'south Dead," Bauhaus, The Hunger (1983)
The classic opening of Tony Scott's horror motion-picture show forever linked goth stone, smoky NYC clubs and vampires. Dancing behind a grate, Peter Potato lip-synchs to his band'southward ominous single as bloodsuckers David Bowie and Catherine Deneuve scope out the gyrating bodies for the dark'due south prey.—Joshua Rothkopf
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16. "Tequila," the Champs, Pee-wee'south Big Adventure (1985)
What's a manchild like Pee-wee Herman to do when he knocks over a group of hulking bikers' motorcycles? Lace up a pair of platform shoes, hop atop the bar and get down to the horn-bleating cocktail-lounge staple, of course.—Keith Uhlich
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fifteen. "Ride of the Valkyries," Richard Wagner, Apocalypse Now (1979)
Francis Ford Coppola's hijacking of this operatic leitmotif to score a chopper set on is a stroke of demented genius: Wagner's German Romantic bombast mocks the notion of American militarism in Vietnam, fifty-fifty as it makes Col. Kilgore's air-calvary strike audio like a accident from the hammer of the gods. (The specific scene isn't available online, but this trailer has a large chunk of information technology starting at 1:xxx.)—David Fearfulness
Buy, rent or lookout man Apocalypse Now
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fourteen. "Gassenhauer," Carl Orff, Badlands (1973)
For a story near criminal lovers on the run, Terrence Malick'due south 1973 debut achieves a rare degree of innocence, largely due to this German composer's shimmering, percussive masterwork (too used in True Romance). Sissy Spacek and Martin Sheen create an Edenic paradise in the woods; you promise it lasts forever.—Joshua Rothkopf
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xiii. "Day-O (The Banana Gunkhole Song)," Harry Belafonte, Beetlejuice (1988)
Most onscreen possessions pb to screaming. But singing? In this hilarious sequence from Tim Burton's inventive horror-comedy, an uptight dinner becomes an exhilarating musical number ready to Harry Belafonte's calypso standard. All meals should be similar this, jumbo-shrimp bogeymen and all.—Keith Uhlich
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Watch the video for "Mean solar day-O (The Banana Boat Song)" by Harry Belafonte
12. "The Rhythm of the Dark," Corona, Boyfriend Travail (1999)
A black-clad Denis Lavant bursts into ecstatic trip the light fantastic with this 1994 club striking—and in one fell swoop, Claire Denis nudges her modern Billy Budd adaptation into the sublimely surreal, turning a cheesy Italian techno-disco song into an expression of repressed gay want finally finding its form. (The song kicks in at the 0:50-2nd mark.)—David Fear
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xi. "Built-in to Be Wild," Steppenwolf, Easy Passenger (1969)
Steppenwolf'southward archetype-rock staple became a hippie canticle one time Dennis Hopper included it his tale of ii dudes hitting the open up road. Blasting over Hopper and Peter Fonda tooling down the highway on their Harleys, the vocal fix off an explosion of soundtracks featuring the music of the '60s counterculture.—David Fear
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10. "Sis Christian," Nighttime Ranger/"Jessie'southward Daughter," Rick Springfield, Boogie Nights (1997)
The sad rising and fall of porn star Dirk Diggler reaches its catharsis in this legendary sequence, a drug bargain gone awry. Kickoff, we're introduced to the den of berobed crackhead Alfred Molina, jamming to his "awesome" mixtape and the aggressive triumphalism of Night Ranger's pilus-metallic canticle. Then (after an unexpected cassette flip) the music shifts to Rick Springfield's puppy-eyed rocker, as our hero slips into a unsafe situation beyond his control. Lookout Marking Wahlberg's complex close-up as the chorus builds: He's half in awe of the vocal—perhaps information technology's the kind of music Dirk wishes he himself could record—and half cognizant of his ain ruination. For all of his subsequent genius, managing director Paul Thomas Anderson has never eclipsed this scene.—Joshua Rothkopf
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Watch the video for "Sister Christian" past Night Ranger and "Jessie's Girl" past Rick Springfield
9. "Layla," Derek and the Dominoes, Goodfellas (1990)
I could cull a acme-ten-song list just from Martin Scorsese's landmark law-breaking epic, the nigh influential flick of the 1990s. The manager was yoking pop music and images with a deftness no ane could touch; for the sake of our list, we'll get with this montage of whacked comrades, set to the forlorn piano outro of Eric Clapton's early-'70s radio staple. The party is over every bit goons come across their long-telegraphed ends: slain in a pink Caddy, hanging in a meat truck and gunned down in the private living room of a "made guy," where a promotion takes a shocking plow. Fifty-fifty equally you watched the sequence for the beginning time, it felt similar a classic—and still does. (Nosotros tin't embed the specific part, simply here'due south a link to it.)—Joshua Rothkopf
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8. Tubular Bells, Mike Oldfield, The Exorcist (1973)
The well-nigh signature piece of music to e'er grace a horror picture show (and now an instant evocation of creeping doom), Mike Oldfield's prog-rock limerick was selected for this 1973 blockbuster's opening theme afterward an entire original score was rejected by director William Friedkin. In the slice's tinkling piano and synths, you tin hear a premonition of the iconic soundtracks of John Carpenter to come. Early in the motion-picture show itself, y'all seen Ellen Burstyn strolling down a leaf-strewn Georgetown street. Children cavort in costumeâ€"it's Halloween. Nuns laissez passer, their robes billowing in ghostly waves. Of a sudden Burstyn stops, noticing 2 priests having a centre-to-center chat. "In that location's not a day in my life that I don't feel like a fraud," one of them says, anguished. Everyone'due south faith is nigh to be tested. (Above is the trailer—brace yourself—and hither's a link to the scene.)—Joshua Rothkopf
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vii. Rhapsody in Bluish, George Gershwin, Manhattan (1979)
Gershwin wrote his groundbreaking high-art-meets-lowbrow work in 1924 as a "musical kaleidoscope of America." Simply after swain Brooklynite Woody Allen set his film'due south opening montage of local landmarks and crowded avenues to the composer'due south signature tune, you lot can't assist but think of ane specific city whenever you lot hear those joyously jazz-inflected fanfares. Cinematographer Gordon Willis's peerless black-and-white Gotham tour combined with Gershwin's vintage ode fully captures the poetry and sound of the streets. This is late-'70s NYC recast as an quondam-fashioned urban wonderland, a version of past and present Manhattans linked together with every skyscraper shot and slinky piano run.—David Fear
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vi. "Stuck in the Centre with You," Stealers Wheel, Reservoir Dogs (1992)
Tarantino has already made several appearances on our list, still here is the sequence that stands to a higher place all his others. QT places Stealers Bicycle's benign folk-pop tune over an unlikely scene in which a cop is tortured at great length by the psychotic, razor-wielding Michael Madsen. What starts as a playfully meta moment with "Mr. Blonde" doing some swaggering trip the light fantastic toe moves turns deadly serious by the fourth dimension of the infamous ear slicing, when the vocal'south playful cries of "Pl-ee-ee-ease!" might double equally unanswered cries for mercy. Forth with Tarantino'due south impeccable musical taste, information technology makes for an instantly memorable fix pieceâ€"the first of many in the filmmaker's oeuvre.—Keith Uhlich
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5. "In Your Eyes," Peter Gabriel, Say Anything... (1989)
Let's say your true love has broken up with you, and you're going to blast something on a boom box outside their window to win them back. Well-nigh people would probably pick one of the era's soft-stone hits or power ballads; then once again, most people aren't Lloyd Dobler. Kudos to Cameron Crowe for picking Peter Gabriel's sincere confessional as the perfect offbeat selection for John Cusack's heart-on-his-sleeve hero to serenade dream girl Ione Skye. Thanks to the combo of the vocal's testimony to soulmate salvation and Cusack'due south misfit sensitivity, the scene has become an iconic moment of hopeless romanticism, parodied a million times over nevertheless still able to bring tears to our eyes.—David Fright
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4. "We'll Encounter Once more," Vera Lynn, Dr. Strangelove or: How I Learned to Terminate Worrying and Love the Flop (1964)
Vera Lynn'south sentimental 1939 tune became a WWII anthem for the British, a heartfelt hope that England'south sons and daughters would be reunited come what may and normal existence would resume. Stanley Kubrick'due south repurposing of Vera Lynn's keep-your-chin-up ditty for his satirical goose egg-sum game, still, put a stake through any prevailing notions of optimism; life after wartime was a now matter of the past. In an era when sick humor was the only sane reaction to notions of nuclear Armageddon, Kubrick's keenly realized callback to this old favorite, playing over a parade of mushroom clouds, goes way beyond irony. It's a punch line to the blackest joke imaginable. (Our clip includes the scene beforehand.)—David Fear
Buy, hire or watch Dr. Strangelove or: How I Learned to Cease Worrying and Love the Flop
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Watch the video for "We'll Come across Again" past Vera Lynn
3. "The Stop," the Doors, Apocalypse Now (1979)
Jim Morrison'southward spellbinding 12-minute dirge was originally intended as a breakup song, just with its explicit evocations of patricide and incest (as well as the lead vocalist's animalistic vocalizations), the melody evolved into something more emblematic, a larger consideration of the violent beast inside united states all. The mythic stature of this pop magnum opus only increased when Francis Ford Coppola placed it over the trancelike prologue of his 1979 Vietnam war ballsy. Helicopters slide cagily through the frame, a forest is devastated in a slo-mo napalm bombing, and Martin Sheen's somnolent visage—defenseless somewhere between dream and reality—floats over it all. Morrison and the band'southward apocalyptic complaining evokes the horrors of a state of war every bit vividly and aptly equally do the images.—Keith Uhlich
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two. "In Dreams," Roy Orbison, Bluish Velvet (1986)
"Candy-colored clown...," requests the deranged Frank Booth (Dennis Hopper) to his dandyish friend Ben (Dean Stockwell) in a womblike parlor. What has curious collegian Jeffrey Beaumont (Kyle MacLachlan) gotten himself into? David Lynch'south epochal 1986 freak-out doesn't lack outr sequences, but in that location's something especially unnerving virtually this prolonged detour behind suburban airtight doors (freaky ladies sitting around listlessly, Hopper's terrifyingly bug-eyed eyebrow). Information technology famously climaxes with Ben lip-synching to Roy Orbison's soaring lost-love ballad using a piece of work light equally a microphone. It's a nightmare you lot never desire to wake up from.—Keith Uhlich
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1. Thus Spoke Zarathustra, Richard Strauss, 2001: A Space Odyssey (1968)
It builds, softly, with iii ascending notes...then an eruption of strings and woodwinds, punctuated by colossal timpani hits. That's when the light crests over a gigantic planet—the view of a sunrise as seen from an orbiting space station, or witnessed past God Himself. Stanley Kubrick wanted to use classical compositions instead of the deputed (and discarded) Alex North score to attain an appropriately massive soundtrack to his cerebral sci-fi masterpiece, and Richard Strauss's tone poem supplies the moving-picture show's opening moments with an immediate sense of scope and grandeur: This is what the majesty of the universe sounds like. Everyone from Elvis Presley to the makers of cat-food commercials has since hijacked this Nietzsche-inspired piece of work for their grand entrances, merely Kubrick got there first; past the time 2001's championship credit shows up under that sustained musical burst, the combination of audio and paradigm has already transported you to infinity and across.—David Fright
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Source: https://www.timeout.com/film/the-50-best-uses-of-songs-in-movies
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