Continuing with the series, today comes Part 2. Again, this is not a comprehensive list, just of things I have seen. Let me know what I have missed or need to hear below! For Part 1, click here:

No Courage Without Fear/Navigating the Beach, from Edge of Tomorrow

Even though it still sounds great now, honestly, listening to it now doesn’t do this justice. In the theater, it truly sounded ominous, like something that can’t be stopped. It is also used again, in a bit more of a majestic, “take-no-prisoners” like tone later in the movie. Both are wonderful versions of the same idea, but No Courage Without Fear basically leads to this…

D-Day, from Edge of Tomorrow

Where all efforts are futile for the humans against the alien horde. Hear it, it literally sounds like the end of mankind, no matter how hard we fight. The crescendos and the sirens linger and linger in a systematic fashion, accentuated by the force of the bass drum. If the previous track was ominous, this is downright frightening.

They Know We’re Coming, from Edge of Tomorrow

This music comes at a time in the movie in which our opposition is hiding no secrets or battle plans. It is a straight collision course to the end, to get that one thing that changes the balance of power, to rally the troops for that final push. The vibe of this piece reflects that, giving off the feeling of a confrontation both sides have prepared ages for, and now are deadlocked in a race against time to end this once and for all. Anyone else get a Gears of War/Mass Effect feeling with this one?

Freak, from 22 Jump Street

Done by Steve Aoki, this electric track snaps perfectly into the madness at the end of the Jenko and Schmidt journey. Obviously, it has the house beat designed to pump one’s fist in the air in a harmless manner, but also an air of aggression and chaos along with it, the type of chaos and aggression that gets people crazy and physical in the right setting. Where this is used in the film covers both ends of the spectrum.

22 Jump Street (Theme from the Motion Picture), from 22 Jump Street

Take 10 people who have seen 22 Jump Street, ask them what they remember most about the movie, and I’d wager that at least seven would say the totally-not-subtle and gut-busting end credits. Playing in the background of them is this remake of the old theme of the TV show, remixed for a younger generation. It’s light, infectious, idiotic a tad in its lyrics, and a fitting end to the sequel.

The Great Ape Processional, from Dawn of the Planet of the Apes

Something about this just conjures feelings of peace, and ethereal tranquility. Seeing the nation of apes live as they do, with really more structure and togetherness than their human counterparts is astonishing, and a true marvel towards what they have built and become. And yet, it is sort of sad as well, only because this state of accord won’t last much longer. But it is a very heartfelt track, utilizing the heavenly harp strings to pull at the heart strings. Wonderfully composed, and a perfect scene to which this is played in.

Close Encounters of the Furred Kind,  from Dawn of the Planet of the Apes

In my opinion, there is nothing that sounds more “ape-like” than this in the score. Very primitive and animalistic, especially when 3:13 rolls around. Anytime I think of Dawn of the Planet of the Apes, I think of this tune, as the apes march and pound their way through many different locales. While maybe not as easily clear as the Godzilla theme comparison:

it’s clear that composer Michael Giacchino (Star Trek reboot, Cloverfield) had some inspiration from the 1968 masterpiece. Nice homage to the vintage stuff while still putting an original spin on things.

Commencement, from The Purge: Anarchy

I was, and still am, legitimately surprised at how much I appreciate this OST. It might not amount to much hearing it out of context through some earbuds (though I still find it entertaining to listen to), but so many of these tracks appearing as part of the score build on a similar sound or riff, moving at a continuous methodical pace while subtly adding more synth effects to eventually create a disharmonious and jagged sound. Alone, this and others, such as

Unlock the Car


all contribute to establishing the uneasiness of being outside during this horrific time known as The Purge.

Every single licensed song from Get on Up

The film itself isn’t flawless (still very good though), but the performance of Chadwick Boseman certainly is, as are the energetic songs written and once performed by The Godfather of Soul. Every song that appears is worth hearing, but I’ll end this with a few of my personal favorites:

Until Part 3…


Photo credit goes to

All music credits go to the men and women who composed them, and YouTube for acquiring the license to make them available.

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