Music

Natasha Bedingfield’s 2006 hit is a reoccurring theme throughout Will Gluck’s latest rom-com, but the standout synch is undoubtedly amid an at-sea helicopter rescue. Earlier in the film, Bea (Sydney Sweeney) discovers that Ben listens to “Unwritten” to help ease his fear of heights. Naturally, when the duo finds themselves being airlifted from the ocean, Bea starts singing an a cappella rendition of his “serenity song.” With Ben eventually singing along and Natasha’s studio recording following suit, the couple ascends to safety (with arms wide open, of course). Listen here.

The chorus of John Cale’s 1974 song is just its title repeated over and over — but those six words were somehow all that was needed to drive a scene that leaves the men at the center of the film’s love triangle alone with each other at a dimly-lit bar. Even for those who’ve never heard the song before, the synch is subtle yet profound for Hae Sung (Teo Yoo) and Arthur (John Magaro), each with memories of two different versions of Nora (Greta Lee), due to knowing her at different points in her life. “[It’s] the perfect song for them because that’s what it is,” director Celine Song told Indiewire of the song choice. “Part of it is the mystery that they have for each other, and they’re actually making room for that mystery for each other and in each other.” Listen here.

There are very few, if any, misses in Mark Ronson’s OST — as evidenced by Ryan Gosling’s first Hot 100 hit and Billie Eilish’s Grammy winner. But in a pivotal moment for the movie’s plot, it’s Charli XCX’s punchy original that backtracks Barbie’s (Margot Robbie) epic escape from the Mattel executives who wish to banish her from the real world. The song pauses briefly as Barbie meets a woman we later learn is Ruth Handler, the doll’s creator, before starting back up as Barbie continues her run, uniting her with the mother-daughter duo who accompany her for the rest of the film. Listen here.

Oliver’s (Barry Keoghan) viral nude dance to Sophie Ellis-Bexor’s resurged Y2K track became one of the most memorable needle drops of the year. But a lot can also be said for the vibrant scene featuring MGMT’s carefree debut single, which sees Oliver get settled into the enchanting estate that is Saltburn. “We’re fated to pretend,” the indie rock duo sings, hinting at the anti-hero’s ulterior motives: to effortlessly fit himself into a family that he actually planned to take down all along. Listen here.

Who would’ve thought that a Salt-N-Pepa hit would be the catalyst for a rom-com’s lead couple 30 years after its release? One stop on Dom (David Jonsson) and Yas’ (Vivian Oparah) seemingly endless “first date” brings them to a karaoke bar, where Dom kicks off a lackluster rendition of “Shoop” to an unenthused crowd before Yas joins in and the duo finds their groove. After concluding their performance with smiles on their faces and to a thunderous applause, the star-crossed lovers celebrate with the moment viewers have all been waiting for: their first kiss. Listen here.

The instrumental steel drum rendition of 50 Cent’s 2003 hit plays an integral role in the Oscar-buzzed courtroom drama, being played and heard by the characters throughout. The first time we hear it is undoubtedly the most jarring and crucial, as the funky yet dissonant tune blasts from the attic of a secluded cabin nestled in the French Alps — in fact, so loudly that Sandra (Sandra Hüller) is forced to reschedule an interview happening downstairs. The song pauses for a moment until quickly starting back up again when Sandra’s son Daniel (Milo Machado-Graner) finds her husband Samuel (Samuel Theis) dead outside below the attic window, with his dark blood staining the bright snowy beneath him. Listen here.

What better song to re-introduce Marvel’s favorite group of space-traveling outcasts than “Creep”? The third installment to the Guardians of the Galaxy franchise begins with a quick glimpse at Rocket’s (Bradley Cooper) heartbreaking origin, before taking viewers back to Knowhere to the tune of the acoustic rendition of Radiohead’s debut single. The angsty 1993 hit provides the seamless set-up for the film, as Rocket reflects on his tumultuous past and Peter (Chris Pratt) works through heartbreak. Listen here.

Labi Siffre’s poignant 1972 guitar ballad comes up twice in Alexander Payne’s Oscar-nominated Christmas dramedy. First, when Angus (Dominic Sessa) steals a master set of keys and wanders the empty halls of Barton Academy after becoming the only student left behind for the holiday break, and again in the film’s final scene, which sees Mr. Hunham (Paul Giamatti), a once-stubborn curmudgeon, leave the boarding school for good in order to give Angus a second chance at making things right. In both instances, the synch does exactly what it needs to — emphasize how the complexities of human emotion can help people from completely different walks of life find common ground. Listen here.

After the school discovers their women’s self-defense club was just a rouse to get close to their cheerleader crushes, loser lesbians PJ (Rachel Sennott) and Josie (Ayo Edebiri) have their first big fight in what marks a turning point for the platonic best friends. As PJ storms off the court, Avril Lavigne’s angsty pop-punk breakthrough kicks off a montage that spotlights the things that truly make high school feelings complicated. Listen here.

Even on its own, the final scene of Sofia Coppola’s film was both beautiful and devastating: Priscilla (Cailee Spaeny) drives away from Graceland, leaving a man she knows isn’t good for her. However, the addition of Dolly Parton’s iconic country ballad into the mix made it all the more poignant, as its gut-wrenching lyrics seemed to perfectly line up with how Priscilla felt separating from Elvis — while also underscoring the fact that despite the heartache and challenges, she will always love him. Listen here.