John Hughes, the patron saint of 80s teen melodrama, ruled the “greed decade” with witty banter, heartfelt characters, realistic storytelling, and essential pop classics. Used to the maximum effect throughout his filmography, the music plays a key role in expressing many of Hughes’ comedic and heartfelt moments. Each soundtrack is loaded with songs that remain popular in the cultural zeitgeist today.

One of Hughes’ earliest mega-hits was a writing credit for the family road trip comedy featuring Chevy Chase, Beverly D’Angelo, Randy Quaid, Dana Barron, Eugene Levy, Christie Brinkley, Jane Krakowski, John Candy, and frequent collaborator Anthony Michael Hall. Lindsey Buckingham’s upbeat and out-of-character driving song “Holiday Road” plays over the opening titles, and would go on to play a role in the 

 franchise after the success of the first installment.

John Hughes’ directorial debut is the story of every sixteen-year-old girl's worst birthday ever. Molly Ringwald, another frequent collaborator of the writer-director, plays the titular teen struggling to make it through the biggest day of her life without being embarrassed into oblivion. The soundtrack features a variety of 80s pop extravagance like Annie Golden’s new wave synth hit “Hang Up the Phone” and the Thompson Twins’s love ballad “If You Were Here.” Other songs by artists like Stevie Ray Vaughn, Spandau Ballet, Night Ranger, Altered Images, and AC/DC fill out the rest of the soundtrack.

Considered by some as Hughes’s crown jewel, 

 is a quick-witted and emotionally dense film about high school detention. Featuring most of the controversially labeled “Brat Pack,” actors Emilio Estevez, Anthony Michael Hall, Molly Ringwald, Ally Sheedy, and Judd Nelson play the infamous library-bound students. Their Saturday stuck at school is punctuated by very 80s montage moments featuring songs like Karla Devito’s “We Are Not Alone” and E.G. Daily’s “Waiting.” Simple Minds’ “Don’t You (Forget About Me),” which serves as the film’s main anthem, has a cultural impact that continues to keep both song and film relevant.

The quirky, offbeat nature of this mid-80s comedy is matched by the synthesizers and digital noise of the songs picked for the soundtrack. John Hughes's nerd fantasy features Anthony Michael Hall and Ilan Mitchell-Smith attempting to create the perfect female companion with a computer. Actors like Robert Downey Jr. and Bill Paxton fill out the cast as mishaps and miscues pile up until the boys learn their lesson. Oiongo Boingo’s theme song is the start of a stacked soundtrack featuring Roy Orbison, Kim Wilde, Ratt, Los Lobos, Taxxi, Killing Joke, and Wall of Voodoo.

Although Hughes didn’t direct this film it is one of his best screenplays and the soundtrack is highly influenced by his artistic direction. Led by the trio of Molly Ringwald, Jon Cryer, and Andrew McCarthy, the film features an array of fantastic performances including James Spader, Annie Potts, Harry Dean Stanton, Gina Gershon, Kate Vernon, and Andrew Diceclay. The soundtrack, highlighted by The Psychedelic Furs' theme song “Pretty in Pink” also includes artists like The Rave-Ups, Barry Manilow, New Order, and a standout, lip sync performance of Otis Redding’s “Try a Little Tenderness.”

 is the pinnacle of what it must be like to be the coolest kid in high school. Filled with laughs and nostalgia in every frame, the film survives beyond the decade it is set in because of universal themes and emotions. Anchored by stellar performances from the three leads Matthew Broderick, Alan Ruck, and Mia Sara, the movie also features great moments from Jeffrey Jones, Jennifer Grey, Edie McClurg, and Charlie Sheen. The soundtrack boasts all-time classic 80s synth-pop tracks like Yello’s “Oh Yeah” and “Love Missile F1-11” by Sigue Sigue Sputnik but the most famous music moment might be Ferris’s antics at a day parade, belting The Beatles' “Twist and Shout” to the entirety downtown Chicago.

, a romantic, coming-of-age drama starring Eric Stoltz, Mary Stuart Masterson, Lea Thompson, Elias Koteas, Craig Sheffer, and Candace Cameron Bure. The blend of musical genre and song style continues to be Hughes’ strong suit in curating a soundtrack to fit his narratives. Songs like “Miss Amanda Jones” performed by The March Violets and Lick the Tins' cover of “Can’t Help Falling In Love” elevate the movie, adding layers of emotional depth.

Leaning into more adult-themed drama and narrative, John Hughes R-rated 

 stars Steve Martin and John Candy as a pair of unlucky travelers stuck together by circumstance as they try to make it to New York for Thanksgiving. Throughout the road trip comedy, the soundtrack pops with hit songs from artists like Emmylou Harris, Westworld, Blue Room, and Yello. Ray Charles's song “Mess Around” is featured during a frantic and hilarious night drive sequence.

Planes, Trains, and Automobiles Soundtrack

Known a little outside of the traditional John Hughes canon, 

 is a melodramatic, coming-of-age film about a young couple dealing with a new marriage and impending baby. Starring Kevin Bacon and Elizabeth McGovern as the main couple, the film also features Alec Baldwin, Holland Taylor, and William Windom as well as frequent Hughes collaborators Paul Gleason, John Ashton, Larry Hankin, and Edie McClurg. A stellar soundtrack features artists like XTC, Boston, Love and Rockets, Marvin Gaye, Everything But the Girl, and Bryan Ferry. With the recent resurgence of Kate Bush’s music, mostly thanks to 

, her song “This Woman’s Work” from the childbirth montage also saw chart bumps.

 features a variety of classic rock, pop, rhythm and blues with artists like The Chordettes, LaVern Baker, Marvin Young, Tone Loc, The Beau Brummels, and Fresh for Lulu. The family-friendly comedy about a down-on-his-luck uncle babysitting his nieces and nephew for a week stars the titan of comedy John Candy, as well as Macaulay Culkin, Laurie Metcalf, Gaby Hoffmann, Jean Louisa Kelly, and Elaine Bromka. Tone Loc’s “Wild Thing” plays during a particularly endearing and hilarious scene when Uncle Buck stands up for his family.

John Hughes Ultimate Movie Music Playlist

Aside from the striking visuals, twisting and turning narratives, vulgar dialogue, revitalizing actors’ careers, or blending comedy with tragedy, Quentin Tarantino knows what is what when it comes to music. Practically a second voice in many scenes throughout his filmography, Tarantino’s song and score choices fluctuate across a broad musical spectrum. Each film offers a wide variety of lyrical and instrumental soundscapes, always enhancing Tarantino’s vision.

, with George Baker Selection’s “Little Green Bag” sets the tone for Tarantino’s career to follow. The Dutch pop-rock band’s 1969 hit had a resurgence 22 years after its initial release because of the calm, cool, collected thieves walking in slow motion before their next big score.

The movie’s most memorable and haunting scene is known for the music it is set to. Stealers Wheel’s “Stuck in the Middle with You” accompanies a darkly comedic and grotesquely violent moment where Michael Madsen’s character Mr. Blonde interrogates a hostage police officer. Some viewers might want to cover their eyes… and ears!

Tarantino’s major breakout came a couple of years after 

. Featuring a rag-tag group of actors including John Travolta, Samuel L. Jackson, Uma Thurman, Bruce Willis, Ving Rhames, Christopher Walken, Amanda Plummer, Tim Roth, Rosanna Arquette, and Eric Stoltz, the film employs a web-like technique to tell multiple intertwining stories between various characters.

The music throughout the movie punctuates easy-going and tension-building moments like Chuck Berry’s bopping “You Never Can Tell” as John Travolta and Uma Thurman compete in a dance competition at Jack Rabbit Slim’s or Urge Overkill’s ominous “Girl, You’ll Be a Woman Soon” as Uma Thurman dances alone.

The Elmore Leonard adaptation is the only film in Tarantino’s filmography that he didn’t write himself. The crime drama follows flight attendant Jackie Brown, played by Pam Grier, as she smuggles money for Samuel L. Jackson’s character Ordell Robbie.


The soundtrack involves many talented artists for the film, and the vibes of each song fit a specific mold, blending with the groove of the narrative. Tarantino has stated in interviews that he likes to let music help create how and why scenes happen, saying “I find the personality of the piece through the music that is going to be in it.” The soul, R&B, and disco tunes especially work in paying homage to 1970s blaxploitation films like 

Kill Bill Vol. 1 begins to see the director branching out from lyrically based soundtrack choices. Using selections from Ennio Morricone, Tarantino places the Italian composer's spaghetti Western themes in moments paying homage to Japanese samurai films, blending genres in explosions of sight and sound.

The soundtrack bounces these Morricone classics off songs by Japanese pop artists and Wu-Tang Clan royalty to mesmerizing effect. This scene’s use of “Don’t Let Me Be Misunderstood” is a whirlwind of style and instrumentation, giving the scene an extra jolt of tension and energy.

Where every other film Tarantino has made can be considered a stand-alone film, the Kill Bill films are indisputably linked. But while the first film utilizes more action and violence to tell its story, the second film marinates in slow moments and lengthy discussions.


Pieces of the film’s music were written by fellow director Robert Rodriguez, of 

 fame. As the film’s narrative took a slower approach than the first installment of the saga, Tarantino felt the music should match the mood and asked his buddy to write additional music for Vol. 2. These pieces fill out the score around famous works by Morricone and Nora Orlandi.

 was an adrenaline rush of nostalgia, violence, and debauchery. Debuting back in 2007, the Robert Rodriguez directed 

 about a zombie outbreak on a military base, and Quentin Tarantino’s 

 about a mad stuntman terrorizing the roads, were shown in theaters on the same ticket.

Tarantino’s choice of music throughout the sweltering story of driving fast and reckless fits the mood of the story and the ‘70s exploitation cinema the film emulates. The film features a variety of tracks from artists like The Coasters, Eddie Floyd, Smith, and T. Rex that blend genres like soul, R&B, blues, and rock & roll, while also featuring classical and contemporary score pieces from artists such as Pino Donaggio and a long time Tarantino favorite, Ennio Morricone.

The first Tarantino soundtrack not to include audio excerpts from the film, 

 leans heavily into instrumental music for most moments. When not dipping back into the familiar Morricone well, the soundtrack leans into composers such as Charles Bernstein, Nick Perito, and Gianni Ferrio.

Besides the score, Tarantino only uses a select few lyrical tracks throughout the fantastical, Nazi hunting, war-extravaganza to punctuate specific moments. Like Billy Preston’s “Slaughter” ripping insane electric guitar licks as the audience is introduced to Nazi-hating former Nazi Hugo Stiglitz or David Bowie’s “Cat People” accentuating Shosana’s planning and preparation for the ultimate mission against the ultimate enemy.

Out of all the genre-bending and industry-defying songs chosen for a Quentin Tarantino movie, the soundtrack to 

 might be the best collection of songs. The slave-era Western features a star-studded cast including Jamie Foxx, Kerry Washington, Leonardo Dicaprio, Samuel L. Jackson, Jonah Hill, Don Johnson, Walton Goggins, and Academy Award-winner Christoph Waltz. (for this role!!)

The soundtrack boasts the same level of fame and prestige as the actors with artists such as Anthony Hamilton, Elayna Boynton, Jim Croce, Rick Ross, James Brown, Tupac, and John Legend. Songs by these artists weave throughout the narrative around classic Spaghetti Western musical cues from composers such as Riziero Ortolani and Ennio Morricone. This would be Morricone and Tarantino’s first collaboration using original music written by Morricone for a Tarantino film. Morricone stated he would never work with Tarantino again after this experience, but that didn’t last long.

 is the first film Tarantino ever chose to have an original composition as the score. After dealing with “misreported” comments in the press slandering their working relationship, composer Ennio Morricone wrote and conducted a full score for the film, incorporating old pieces from 

 with all new music. The music invokes elements of horror and suspense to create an eerie and foreboding atmosphere throughout the film.

The film also features a couple of lyrical tracks in specific moments to alter the overall mood and break certain moments of tension. The use of The White Stripes “Apple Blossom” plays at a key transition, almost as a tongue-in-cheek recognition of the elements swirling on the screen.

 Tarantino’s magnum opus. A convergence of every piece of the director’s madcap sensibilities and history condensed into a sprawling, pseudohistorical epic of southern California. With an insane cast boasting Leonardo Dicaprio, Brad Pitt, Margot Robbie, Al Pacino, Austin Butler, Emile Hirsch, Margaret Qualley, Dakota Fanning, Bruce Dern, Luke Perry, Timothy Olyphant, Damian Lewis, Mike Moh, and Lorenza Izzo, the film deals with a “struggling” actor and his best friend/stuntman as they traverse life through the late 60s Hollywood studio system.

Cleverly incorporating recordings of radio DJs from the LA area in 1969 throughout the film as Cliff Booth cruises through the LA streets with the radio blasting is an incredible touch of authenticity and artistry. Quentin Tarantino’s panache for building a soundscape to accompany his visual canvas reaches a pinnacle in this story as the movie seamlessly blends all sorts of musical cues, needle drops, and actual recordings from the era.

Once Upon a Time... in Hollywood soundtrack

John Hughes Ultimate Movie Music Playlist

Quentin Tarantino's Ultimate Movie Music Playlist

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