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The Best Movie Music Moments Of 2012

Features
by The Playlist Staff
December 10, 2012 3:05 PM
30 Comments
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Anna Kendrick Pitch Perfect
"Pitch Perfect" -- The Bellas' “No Diggity”
The Riff-Off in the fuzzy, giddy slice of pure pop genius that is “Pitch Perfect” isn’t necessarily the most spine tingling number of the a cappella flick (“Right Round” by The Treblemakers) or the most impressive (The Bellas final mash-up), but it is the most important music moment in terms of the film’s story. The Bellas assemble their motley crew of misfits and rejects, and meet up with the other groups in an empty pool (always an empty pool) for their Riff-Off: a game of vocal wordplay involving stealing songs from another group by jumping onto a particular word. The Treblemakers and Bellas trade blows on Rihanna’s “S&M” (sung, interestingly, by the song’s writer Ester Dean), Salt n Pepa’s “Let’s Talk About Sex”, Boyz II Men’s “I’ll Make Love to You,” and Foreigner’s “Feels Like The First Time,” but when Beca (Anna Kendrick) jumps in with Dr. Dre’s verse from STONE COLD MOTHERFUCKING CLASSIC “No Diggity” by Blackstreet, it’s the pivotal moment of the entire film. She’s finally, finally showing some gumption, ditching the cool kid attitude and proving not only her musical chops, her gangsta cred and her ability to bring something fresh to the tired Bellas set list. Each member of the group gets to display her quirky personality and skill visually within the number (Rebel Wilson grabbing her tummy on “got game by the pound” = idol status), and it’s the true moment of their cohesion as a group, even if the film takes a frustratingly long time to get back there. And seriously, who can resist “No Diggity”? Guaranteed, that moment in the trailer of Kendrick singing the hook a cappella all alone in the pool sold that movie instantly.

Rust And Bone Firework
"Rust & Bone" -- Katy Perry's "Firework"
Critics at the Cannes Film Festival are a hardened bunch. Usually jet-lagged, weary, sleep-deprived and perhaps a bit standoffish as world cinema’s finest try to impress, it speaks to the skill of Jacques Audiard that his repurposing of Katy Perry’s “Firework” left nary a dry eye in the house. So how on Earth do you make a ubiquitous, throwaway pop hit into one of the emotional turning points of a film? You do the work. The first time we hear the song in the film it’s part of the Marineland show that winds up leaving Marion Cotillard’s trainer Stephanie paralyzed from the waist down. She then essentially shuts herself off from the world, but buoyed by the attentions of Matthias Schoenaerts’ Alain, she starts to come out of her shell. Indeed, when she eventually rolls herself out onto the sun soaked balcony it’s like she’s starting life anew, and as she goes over the hand and arm movements that she used with the whales, Audiard slyly pumps “Firework” into the background, slowly rising in volume. Stephanie isn’t just coming to terms with her past, and perhaps saying goodbye, she’s also claiming her future. Out of context -- and we don’t recommend watching the below unless you’ve seen the movie -- it’s not quite as powerful. But in the film, given the hard road we’ve take with Stephanie to this point, “Firework” literally explodes in your heart, the first upbeat, sugary note of hope in the story, and we dare you not to reach for the nearest Kleenex box.

Shut Up And Play The Hits Reggie Watts
"Shut Up And Play The Hits" -- LCD Soundsystem's "45:33 (ii)" 
Shut Up and Play the Hits,” the unimpeachable documentary that charted the final show of cooler-than-cool electro-pop outfit LCD Soundsystem (at Madison Square Garden, no less), was one giant music moment; a singularly uplifting, dance-your-pants off experience. But if there’s one truly transcendent moment in the bulk of the documentary, it’s when the band performs the second part of “45:33,” joined onstage by comedian/musician Reggie Watts. “45:33” might be the most esoteric part of both the concert and the documentary (it was an unbroken running mix that LCD mastermind James Murphy made for Nike and iTunes), but it quickly became the highlight of both. Watts, in his trademark T-shirt and suspenders, rocking a mile-wide afro, engaged in an amazing vocal tête-à-tête with Murphy, even though the portion of “45:33” only consisted of a handful of lyrics, adding some wonderfully sweet soulfulness to the proceedings. Like the rest of “Shut Up And Play The Hits,” this moment is both spirited and melancholy, deeply dance-able and strangely emotional. And when the section of “45:33” ends and “Sound Of Silver” starts up, you realize that the band may be done but the party will never, ever end.

Skyfall Title Sequence
"Skyfall" -- Adele's "Skyfall"
Hands down the best moment in the overlong, poorly paced and exhausting “Skyfall” belongs to songstress Adele and designer Daniel Kleinman, who turn in a smashing theme and sequence combo after several diminishing returns. Relying largely on Adele’s vocals and sparse orchestration, the song is a throwback to old-school themes without feeling tacky or hung up on past glories. Kleinman, on the other hand, breaks with tradition a bit, the visuals suggesting nothing less than the shattering of the Bond mythos, a spiritual death and funeral proceedings for the spy icon. It’s an elegiac tour de force, interplay between light, shadows and mirrors, as the blood rains down from the sky and dragons lurk across the screen. It’s such a strong entry that it makes the plodding film that follows all the more of a disappointment.

Tabu
"Tabu" -- The Ramones' "Baby I Love You" 
While it might look on the surface like an homage to silent cinema akin to "The Artist" (and it is, in a way), the charms of Miguel Gomes' glorious "Tabu" go much deeper than that, particularly in its second half, a dialogue-free, magic realist forbidden romance set in colonial Africa... some time in the middle of the 20th century. As with Gomes' other films, pop music pays a big part of the film, most notably a gorgeous Portuguese-language cover of "Be My Baby" that proves to be the crucial link between the film's first and second half. Much of these song moments come courtesy of Mario's Band, the snappily-dressed group that hero Ventura, and his best friend Mario, belong to. Ventura is sleeping with the beautiful Aurora, married to a powerful local man, and is starting to reach the end of his tether. At a local party, Ventura drums along to a mimed, deeply anachronistic version of "Baby I Love You," the Ramones' cover of the Phil Spector hit. The band lined up alongside a half-empty swimming pool, as if to drive home the chasm between Ventura and Aurora, who dances on the other side. It's a great reminder of a somewhat overlooked track by the seminal punk band, and is one of those times when it makes perfect sense, historical accuracy be damned.

Michelle Williams Take This Waltz
"Take This Waltz" -- The Buggles' "Video Killed The Radio Star" & Leonard Cohen's "Take This Waltz"
Sarah Polley’s sophomore effort “Take This Waltz” pops with expressive color and music throughout and takes a lot of wonderful wide and creative swings. One of those risks is an ambitious sequence demonstrating the passage of time wherein a camera circles the room and a couple that have cheated and start anew, span time and eventually fall into the same dull routines that led them to stray in the first place -- all of it set to Leonard Cohen’s titular song. But this sensual picture about marriage, love, infidelity and grass-is-always-greener restlessness is also heartbreaking. And an unlikely song, “Video Killed The Radio Star,” which does have its minor key lament of loss and change in it, represents heartache and longing. Michelle Williams’ Margot takes a trip with with her illicit paramour (Luke Kirby) to a theme park and in a moment of elation and bliss, they joyfully go on an amusement ride. But later on, when the pair have long-cemented their affair and relationship malaise has set in, the mockingbird Margot goes back to the amusement park to take the ride. Alone and on her own, she closes her eyes and lets the wind blow through her hair and the music boom in her ears. It’s a devastating scene, Margot on the ride, trying to chase and reclaim that fleeting romantic bliss she once felt. It’s in that affecting moment, we know Margot will sadly, always be chasing a never lasting feeling.

This is 40
"This Is 40" -- Fiona Apple's "Dull Tool" 
Judd Apatow’s “This Is 40” has a terrific and memorable score by Jon Brion that fits the mood and tone of this family-in-crisis drama, a little bit funny, a little bit serious and a little bit sad. But the highlight piece of music in “This Is 40” is another Brion-assisted piece: Fiona Apple’s “Dull Tool,” specifically written for the film. Without giving away too much of the film, the song hits at the apex of crisis, as an angry and frustrated Pete (Paul Rudd) goes for a cathartic bike ride in Los Angeles that borders on suicide run, chaotically weaving in and out of traffic. We won’t spoil how it ends, but it’s a fast-paced and aggravated scene, and Apple’s pounding and choleric “Dull Tool” is the perfect aural diatribe for Pete’s little tantrum-y joyride.

-- Rodrigo Perez, Kevin Jagernauth, Katie Walsh, William Goss, Mark Zhuravsky, Drew Taylor, Oliver Lyttelton

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30 Comments

  • Trina Logan | July 28, 2013 3:00 AMReply

    I agree with this list of songs from awesome movies completely!

  • Matt Lohr | December 14, 2012 2:40 PMReply

    I can't think of a musical moment in film this year that surprised me more than Tenpole Tudor's "Swords of 1000 Men" amping up the opening of "The Pirates! Band of Misfits." It immediately put a smile on my face that didn't leave until the movie was over.

  • EasySeamus | December 13, 2012 8:05 PMReply

    Playground scene in The Comedy is incredible. Never experienced the emotions of ridicule and nostalgia sandwiched together, let alone so well. heatbreaking stuff

  • Bryan | December 13, 2012 4:54 PMReply

    I watch those scenes from Take This Waltz over and over again. My two favorite scenes of the year. Thanks for the list.

  • lora | December 13, 2012 9:53 AMReply

    I like the music part in Rust and Bone

  • ska-triumph | December 12, 2012 4:24 PMReply

    Good list - juicy. But, hey, how no WHERE DO WE GO NOW?

  • Mike | December 12, 2012 10:48 AMReply

    So is it Marianellis or Desplat's score used in the dancing scene in Anna Karenina? All I know is Marianelli is the music composer for the whole film.

  • Ronnie D. | December 11, 2012 4:44 PMReply

    Kylie Minoque's song, and her whole part in general, were literally the worst part of Holy Motors.

  • ska-triumph | December 12, 2012 4:25 PM

    Agreed. Slowed down the whole thing for me... The magic was forced and not absurdly, surreally organic.

  • Arjuna | December 11, 2012 10:03 AMReply

    And that's Johnny not Jinny (looks up to the heavens where Johnny is playing guitar somewhere...my deepest apologies, sir). Seriously, Playlist...re-write your list please and include Silver Linings Playbook which feature the songs of Led Zeppelin as well as Dylan & Cash...thank you.

  • Arjuna | December 11, 2012 9:58 AMReply

    The scene in Silver Linings Playbook where Led Zeppelin's "What Is and What Should Never Be" (incredible scene) as well as Bob Dylan and Jihnny Cash's "Girl from the North Country" (quite possibly one of the most beautiful songs EVER written) need to be included....c'mon, guys.

  • Claude | December 10, 2012 10:11 PMReply

    Why nothing from Joseph Kahn's brilliant slice of pop-culture satire, "Detention"? The use of "MMMBop" as an instrumental piece, and later as a dance number was great. Or the twenty year long detention set to a montage of songs that fit with the trends we see was genius. Or even "Field Of Gold" sung by Toby T.! A vastly underrated gem of a movie with a vibrant soundtrack.

  • Monica | December 10, 2012 8:20 PMReply

    I love the Brooklyn Brothers Beat the Best

  • justin | December 10, 2012 5:04 PMReply

    i am confused. why are you hating so bad on skyfall, oliver, when in your own review (http://blogs.indiewire.com/theplaylist/review-sam-mendes-007-film-skyfall-sees-james-bond-back-to-his-best-20121012) you praised a return to form. you didn't call the film perfect but you didn't call it a disappointment.

    what's up with this? you're starting to flip flop on your own reviews on this website.

  • Mark Zhuravsky | December 15, 2012 6:54 PM

    Hi Alan, in my experience, the intro and the film that followed were very different animals worthy of highlighting via the write-up. In fact, the intro stands out even more in light of that. I don't think it's fair to call my submission selfish considering that this is a group piece that includes a variety of opinions.

  • Alan | December 11, 2012 6:50 PM

    Justin may be civil, but I am not. Congrats Mark, you managed to take a piece about celebrating the musical achievements in 2012 cinema and make it into a glorified rebuke against 'Skyfall', as if to say, "well, you didn't ask for my opinion, but ...". I don't think that film is perfect, but I do think it is incredibly arrogant to highjack the piece - co-written by others - into an attack against a well-liked film that, shock horror, you just don't happen to like. It's like a Tom Hooper directorial choice: it's selfish and takes away from the work of your collaborators.

  • justin | December 11, 2012 6:44 PM

    i love the multitude of different opinions people have about films, and overall i've been impressed with the reviews your group puts out. i see no reason to be uncivil about something that you clarified so well (although it is hilarious to read all of the angry responses for you not voicing what they're thinking). thanks again and keep up the good work. can't wait for the rest of the end of the year reporting.

  • The Playlist | December 11, 2012 6:00 PM

    Wow, Justin. What a civil response. If only more commenters were like this.

  • justin | December 10, 2012 10:33 PM

    oh! ok. well that makes more sense. when i read this article earlier it said oliver was the reviewer so i was starting to doubt even the reviewers and their opinions. thank you for clarifying and i'm sorry you didn't enjoy skyfall!

  • Mark Zhuravsky | December 10, 2012 5:33 PM

    Hi Justin,

    Several staff members with assorted opinions contributed write-ups. I actually penned the Skyfall theme write-up.

  • Christian | December 10, 2012 4:47 PMReply

    How do you not include What Is And Should Never Be in The Silver Lingings Playbook. Or anything from that movie?

  • The Playlist | December 10, 2012 5:11 PM

    Silver Linings is one we definitely considered. A lot of great music, but not quite a moment that popped out at us. Look for it on our best soundtracks and scores piece.

  • LO | December 10, 2012 4:34 PMReply

    Where (the hell) is Laurence Anyways??

  • Kevin | December 10, 2012 4:40 PM

    Technically, it will be a 2013 release for the US, so look for it next year.

  • jack | December 10, 2012 3:41 PMReply

    Hace tuto guagua- Argo: Mendez returning home after saving the hostages to his son. Lying in bed with him, as we see the storyboard.
    Why Do We Fall-Dark Knight Rises: Bruce climbing out of the pit.
    Feelin' Alright: Flight: Denzel hitting that line of cocaine
    Ladies of Tampa-Magic Mike: McConegheny serenading the crowd, as Tatum decides to leave

  • bill | December 10, 2012 3:35 PMReply

    god beasts score is beautiful

  • S | December 10, 2012 3:33 PMReply

    I'M SO EXCITED FOR THE PLAYLIST'S END OF THE YEAR RECAPS!

  • Nate | December 10, 2012 3:30 PMReply

    "The Man Comes Around" in KILLING THEM SOFTLY was fucking awesome! Amiright?

  • Ronnie D. | December 11, 2012 4:45 PM

    But overall the movie was ehh.

  • Glass | December 10, 2012 4:27 PM

    Can't help but think of how that song's been raped and pillaged for soundtracks already - especially the whole ending montage of Generation Kill. It felt redundant at this point, but that's me.

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