The 100 Greatest Movie Soundtracks of All Time

Stand by Me1986

Rob Reiner’s adaptation of Stephen King’s long short story “The Body” – better known to millions from multiple generations as Stand by Me — may be the greatest young adult coming-of-age film ever. At an age where boys can barely piss straight, four friends find that the decisions they make now and the friendships they keep very well could change the course of their lives forever. Central to those friendships are, of course, songs the boys hear on the radio and sing together. In that sense, the s

GoodFellas1990

Music is intrinsic to all of Martin Scorcese’s films, and Goodfellas is no exception. For his 1990 mob masterpiece, ol’ Marty and co-writer Nicholas Pileggi wrote a number of the songs into his screenplay, even shooting certain scenes with the respective song playing on-set (see: the entire montage set to “Layla”). So, odds are if you’re listening to a track off the soundtrack, you can pretty much remember what happened on screen. For some, that strict marriage of sound to screen often takes awa

Boyz n the Hood1991

Speaking of rap sounds defining a decade, Boyz n the Hood introduced the kind of candid vision of another America that would spawn countless contemporaries and imitators alike in the decade that followed. As such, the numerous other rap-driven soundtracks on this list owe a certain debt to the breakout success of the soundtrack to John Singleton’s film. With a mix of sample-friendly R&B and hip-hop from 2 Live Crew, Hi-Five, and Ice Cube in a track attached to his star-making performance, the Ho

Risky Business1983

Joel, like many young men from well-to-do families, has his whole life mapped out for him by his parents. So, when they leave for a short trip, he finally sees a chance to say “what the fuck” and loosen up a bit. Eventually, he trades in his Tangerine Dream-fueled wet dreams and, in one of film’s most recognizable moments, dancing in his underwear to Bob Seger for something a lit bit more risky. Namely joyrides to Jeff Beck in daddy’s Porsche and a hot-cold/business-pleasure relationship with a

Fast Times at Ridgemont High1982

By now, we’ve already mentioned Cameron Crowe and how he’s a prodigy when it comes to the art of the soundtrack. Well, his big debut came way, way back in 1982 with Amy Heckerling’s adaptation of his book, Fast Times at Ridgemont High. While the soundtrack itself lacks the majority of the film’s most iconic tracks — Tom Petty, the Go-Gos, The Cars, and Led Zeppelin — the guy was so good at his job that you hardly notice. How could you when you’re moving from Jackson Browne (“Somebody’s Baby”) to

Clueless1995

How has a film about privileged youth in Beverly Hills retained its appeal over two decades? The answer lies in the soundtrack that’s far removed from the glitz and glamour of Cher’s life. The music here drifts away from that pomp and posh with a punchy, grimy sound that helps gives depth to the story, letting you realize that this isn’t the Valley Girl Zappa famously scorched. When Coolio plays at a party, it doesn’t matter that it’s in Sun Valley – it could just as well be the house around the

Juice1992

While films like Above the Rim thrived on Tupac Shakur’s inclusion on the soundtrack as much as his starring role, the soundtrack to Juice thrills despite the legend’s non-inclusion. But when you’ve got a lineup featuring Eric B. & Rakim, Big Daddy Kane, Too Short, and more, you can get away with just having Tupac act as the face of your crime drama. The soundtrack featured chart-topping singles from Naughty by Nature, Teddy Riley & Tammy Lucas, and Aaron Hall — not to mention hot names like Sal

Wayne's World1992

Turning an eight-minute recurring sketch into a 90-minute theatrical film is no easy task. And when your film stars Wayne Campbell and Garth Algar — co-hosts of the late-night, music-based Aurora cable access show Wayne’s World — that soundtrack had better wail. You can’t just throw on a dozen tracks by The Shitty Beatles and call it a day, Chet. No worries there, though, my friend. The soundtrack climbed all the way to No. 1, and much of that had to do with tie-ins to some of the film’s most me

He Got Game1998

The last time Spike Lee troubled Public Enemy for an anthem – way back in the late ‘80s for Do the Right Thing – Chuck D and crew delivered “Fight the Power”, arguably the greatest hip-hop song ever put to wax. Suffice it to say that Lee knew where to turn when he was in search of more magic for He Got Game, his celebrated joint about a highly recruited high school basketball player and his incarcerated father. Not only does Public Enemy drop arguably their best album since Fear of a Black Plane

Heat1995

Much like Cameron Crowe, Michael Mann tends to scrapbook his soundtracks. With a few exceptions, his films are traditionally scored by a sultry soundscape of incredibly diverse artists, ranging from composers to producers to bands. His 1995 magnum opus, Heat, is like one super sleek, steel-plated time capsule of the era, simmering with myriad sounds from cutting edge masterminds like Elliot Goldenthal, The Kronos Quartet, Brian Eno, Lisa Gerrard, and Moby. Our favorite vegan DJ delivers the fina

24 Hour Party People2002

Of course, a soundtrack to a film about an influential indie label is going to be great, but what makes this one truly significant is how loyal it covers the surrounding scene. Yes, Joy Division, New Order, and other Factory talents dominate the soundtrack, but it also puts the spotlight on other Manchester acts, from A Boy Called Gerald to 808 State, as well as foreign pioneers that contributed to the Madchester swell. The soundtrack’s best quality though is showcasing punk’s nascent role in th

The Royal Tenenbaums2001

The soundtrack to each Wes Anderson film walks a tightrope between ultra-iconic moments and a consistent tonal through-line. To achieve that emotional depth, Anderson frequently returns to the ‘60s and his long-standing partnership with Mark Mothersbaugh. The Royal Tenenbaums finds that balance masterfully, fitting his past-leaning musical tendencies into the narrative’s focus on the generations of a family trapped in the struggles of their past. The forbidden love of adopted siblings Margot and

Forrest Gump1994

While of course Tom Hanks is the absolute core of any film in which he stars, so much of the heavy lifting in Forrest Gump is done by the soundtrack. The film finds Hanks’ Gump living life somehow in the center of American history, from the “Hound Dog” early days to the Jefferson Airplane psychedelic Vietnam protest to Motown and blue-eyed soul. By having licensed enough music to make a 34-song soundtrack, director Robert Zemeckis was able to fully ground the whimsical story and enigmatic charac

Menace II Society1993

“Gangsta rap” became one of the most misunderstood and maligned cultural movements of the ’90s, if not perhaps the very most. The Hughes Brothers’ film almost feels reactive to white suburban fears of the time in a number of ways, painting an authentic portrait of inner-city conflict, life, and death that at one calls for empathy and also calls for the lack of necessity of outsiders being able to understand. The film’s cut-after-cut soundtrack works through the gritty, aggressive sounds of the t

Empire Records1995

A cult film set in a record store fighting for its independence in the face of encroaching retch-inducing pop, Empire Records relies heavily on its soundtrack to establish the credibility. If the songs on the record weren’t sufficiently cool, the production team would look like a whole bunch of Rex Mannings trying to horn in on the teen market. The ‘90s-tastic bunch of Better Than Ezra, the Cranberries, Toad the Wet Sprocket, and Cracker certainly signify the “cool” of a specific moment, while t

Reservoir Dogs1992

Quentin Tarantino’s Reservoir Dogs turned the crime thriller genre on its head in so many ways: the extreme violence, the non-linear storytelling, the obsession with pop culture. However, not quite as quick to gain attention was the young director’s unusual use of music – in this case, Super Sounds of the ‘70s Weekend as spun by monotone radio host K-Billy. It’s not just that Tarantino selects old ‘70s songs for a ‘90s crime film, but that he embeds them in the film via a radio program. Through

Garden State2004

By now, plenty of people’s lives have been changed by sarcastic jokes about how the Shins will change their life, but let’s be honest: when Garden State first came out, that moment carried a bit of magic. And beyond “New Slang”, the soundtrack both fit Zach Braff’s melancholic but sweet worldview and turned the ears of so many viewers to a cozy sweater, emotional brand of indie rock and folk. Simon and Garfunkel’s “Only Living Boy in New York” functions as a spiritual core, a lonely sweetness th

Ghostbusters1984

In the decade of great themes, Ray Parker Jr. created one of the absolute best. So infectious, most bought the soundtrack for that one song alone, though they would have been pleasantly surprised by the rest of the soundtrack. Short but memorable, it featured choice cuts from Thompson Twins and Laura Branigan, all capable and willing to movie the plot along in this brisk comedy. The real gem though is Mick Smiley’s “Magic”, which darkly underscores a great montage, shifting the tone from comedic

Zodiac2007

Part of what makes David Fincher’s 2007 historical thriller Zodiac so compelling is its ability to convey the passage of time. This is a crucial element to a story that deals with obsession and what that obsession will do to the human psyche. In addition to visual cues, like the fascinating construction of the San Francisco skyline, Fincher also leaned heavily on a soundtrack that spans multiple decades and captures the zeitgeist of each respective era: Three Dog Night’s melancholy cover of “Eas

The Rules of Attraction2002

Surprise, surprise: a movie based on a Bret Easton Ellis book has a killer sense of tone and sound. While The Rules of Attraction might be one of the more unheralded adaptations of Ellis’ work, it also nails down the drug-fueled ennui of his storytelling better than most. Crucial to that is the hazy soundtrack, which speaks to a very particular kind of college experience: articulate, erotic, and wholly and entirely cruel after a while. The Cure, Harry Nilsson, Love and Rockets, and even Yaz unde

The Perks of Being a Wallflower2012

Music plays a big role in Wallflower, solidifying the character’s bond and progressing the story. With film limitations being what they are, it’s not quite as fleshed out as it is in Stephen Chbsoky’s novel, but the movie more than compensates for this with dazzling scenes set to classic songs while the more subtle pairings enhance the story. Cracker’s “Low” boldly introduces the group, while New Order’s “Temptation” follows a Rocky Horror experience and Cocteau Twins’ “Pearly-Dewdrops’ Drops” b

Wild Style1982

Few regions will ever have a legitimate claim to truly running the hip-hop game in the way that the South Bronx did in the genre’s early days. And while Wild Style may not be a cinematic classic on its own merits, it’s one of the absolute cornerstones of rap culture on film, if only for its iconic soundtrack, which now serves as a retrospective showcase of the artists and sounds of what would prove to be one of the most important musical movements of the century. It may not be rife with familiar

Apocalypse Now1979

Thinking back on Apocalypse Now, the film essentially becomes a series of terrifying Nam flashbacks, thanks in large part to the soundtrack. Director Francis Ford Coppola and his brother Carmine arranged the soundtrack as a whole, but the most memorable experiences come in moments: the soldiers using Wagner’s “Ride of the Valkyries” on their helicopter entry to scare the Vietcong, one American dancing shirtless to the Rolling Stones’ “Satisfaction” as their boat rides down the river, and The Doo

Cruel Intentions1999

Leave it to a movie about gaudy sexual blackmail to pull off some great cinematic tension, something it does so well that it avoided the soft-core preference of its sleazy sequels. Helping build that subtle abstraction is the film’s surprisingly rich soundtrack, one that revolves mostly around a genre that effortlessly mastered the ability to be simultaneously lively and contemptuous: Britpop! Alt-rock of the time gets its time to shine here too, specifically Counting Crows’ wonderfully somber “