It’s hard to think of a director who so perfectly incorporates the music of his youth better than Cameron Crowe. Hell, his magnum opus, 

is centered around that very idea. The songs that spoke to you as you were coming of age. The glory years, so to speak. Coming-of-age, family, romance, and people in their 20s figuring their lives out are all themes that Crowe explores, with popular songs utilized to express them. That 15-year-old whose passion for music resonated with Rolling Stone magazine would never lose that light inside of him, and it’s clear that his best films contain needle drops that make the message of each story hit home.

One of the most iconic films of the 1980s was based on a book written by a 24-year-old Crowe. It would then be adapted into a feature film in 1982, with the movie version lacking a specific plot or big-name stars. With barely any marketing effort by the studio, the film became a sleeper hit via word of mouth, launching the careers of young actors such as Jennifer Jason Leigh, Eric Stoltz, Judge Reinhold, Nicolas Cage, Forest Whitaker, and Sean Penn.

Nothing screams more 80s feel-good vibes than when Jackson Browne’s “Somebody’s Baby” first comes on in 

Penn’s Jeff Spicoli, a laid-back stoner surfer stumbling out of a retro minivan full of marijuana smoke, will always elicit chuckles. These teenage characters and their intentions, while albeit naughty at times, are still genuine and pure. Young, dumb, and probably a bit too interested in sex for their own good.

A humorous yet ultimately serious romantic drama for teenagers. John Cusack, Ione Skye, and John Mahoney star in this touching story of a good-hearted underachiever pursuing a valedictorian good girl concerning her stubborn divorced father. In his attempts to win over her love, her father encourages her to break up with him, which, of course, leads to absolute heartache. Cheap Trick, Red Hot Chili Peppers, and Depeche Mode all shine in the film’s soundtrack, but there is one artist whose song captures the spirit of what Crowe is trying to say.

Can you name a more iconic 80s teen movie moment than Cusack’s Lloyd Dobler holding up the boombox playing Peter Gabriel’s “In Your Eyes” outside of the love of his life’s house? Ferris Bueller singing The Beatles’ “Twist and Shout” in front of a parade crowd, maybe, but it’s hard to beat just how romantic this scene is and that it’s an iconic 80s tune. Love wins in the end. A cynic may claim that’s false, but when we find out Mahoney’s Jim Court doesn’t quite live up to his righteousness, the hopeful in all of us beg to differ.

Taking his passion for music into the early 90s, Crowe was able to effectively capture the grunge scene phenomenon that was happening at the time in Seattle, Washington. While I wish Kurt Cobain had not turned down the chance to have a Nirvana song featured in the movie, it’s understandable that a love story would not fit the brand that his band was going for at the time (though let’s be real here, a movie featuring Seattle and grunge isn’t complete without that particular band that you may have heard of). A group of Gen X’ers falls in and out of love while aspiring as musicians living in an apartment block (hence the sign “Singles” promoting single-bedroom apartments).

Pearl Jam, Alice in Chains, Soundgarden, and The Smashing Pumpkins shine in this grunge fest of a soundtrack on display. Matt Dillon, Bridget Fonda, Kyra Sedgewick, Campbell Scott, and Bill Pullman, among others, round out the familiar cast of relatable characters. Dillon’s Eddie Vedder-esque character admires Alice in Chains as they perform “Would?” and “It Ain’t Like That” during a live concert scene. 

and their soundtrack effectively helped promote the grunge genre into the mainstream while being more influential than you think on a little television show entitled 

whenever Tom Cruise’s name is brought up (or the Church of Scientology); however, his run in the 80s and 90s when he was working with big-time directors such as Oliver Stone, Rob Reiner, Sydney Pollack, Paul Thomas Anderson, and the late Stanley Kubrick is one to be admired. My personal favorite has to be his work with Crowe in this 1996 sports romantic drama classic. Renee Zellweger, Cuba Gooding Jr. (in an Oscar-winning performance), Kelly Preston, Bonnie Hunt, Regina King, and young Jonathan Lipnicki all chew up the scenery in this knockout punch of a movie.

’s soundtrack leans more reliant on Nancy Wilson’s (Crowe’s wife at the time) remarkable score, there are multiple needle-drop moments worth noting. From Jerry singing Tom Petty’s “Free Fallin’” in his car to Bruce Springsteen’s serene “Secret Garden” punctuating an emotional moment, the film is full of memorable music moments. Paul McCartney’s “Singalong Junk,” an instrumental version of his classic melancholic tune, is expertly used as Jerry and Dorothy become intimate. Even the most jaded of individuals can appreciate how tender, heartfelt, and flat-out sexy the scene is.

An individual such as myself mustn’t be too biased here, as this is my all-time favorite movie, but you’d have to be a real bore to be unable to appreciate this delightful coming-of-age musical drama. It’s the kind of film this site bases itself on, celebrating the very best music moments in movies, and it is the culmination of Crowe’s illustrious career. Patrick Fugit’s acting debut as William Miller is iconic, and he is supported by heavyweights such as Billy Crudup, Frances McDormand, Kate Hudson, Jason Lee, Zoey Deschanel, Anna Paquin, Noah Taylor, and the late Phillip Seymour Hoffman as the unforgettable rock music critic Lester Bangs.

This is simply too stacked of a soundtrack to name just one singular moment. The first 15 minutes are magical, transitioning scenes between Simon & Garfunkel’s “America” into The Who’s “Sparks” flawlessly. Led Zeppelin’s “That’s the Way” and “Tangerine” serve as a mid-road trip moment and the film’s closer, respectively. Nancy Wilson penned the song “Fever Dog” for the fictitious band Stillwater featured, and it’s a legitimate banger. It’s hard not to ultimately choose Elton John’s “Tiny Dancer” as the peak of the movie. Our group puts their frustrations aside to sing this utterly melodic tune. Feel the music and keep on rollin’.

While romance is ultimately infused in this venture, Crowe tries his hand at a science-fiction psychological thriller with this 2001 feature. Cruise is back in the mix, with Penelope Cruz, Cameron Diaz, Jason Lee, and Kurt Russell tearing up the scene. The story tackles nepotism, as Cruise’s David Aames inherits a large publishing company from his father. He leaves the company to his trusted associates while living as a playboy in Manhattan. A love triangle between two women leads to jealousy and an eventual car crash, forcing David to get facial surgery.

Nancy Wilson would once again take over the score of this film, evoking the spirit of Brian Wilson during his 

 era with The Beach Boys. R.E.M., Radiohead, Jeff Buckley, and Bob Dylan are among the artists featured on the soundtrack. Paul McCartney’s “Vanilla Sky,” written for the movie, would receive an Oscar nomination for Best Original Song, and it is the perfect encapsulation of the weird yet comforting fever dream that this film is. It’s more offbeat than his other works, but the Crowe touch is there through and through, both in his ability to incorporate popular music into such a twisted vision and how love will make us do crazy yet courageous things.

All of Crowe’s movies include family dynamics, but this is the one that depicts it head-on, particularly the father-son relationship. Matt Damon plays a widowed father who purchases a zoo with his family in a difficult attempt to prepare the zoo for its reopening to the public. His son Dylan, against the idea of moving away from his friends, becomes more reclusive while being increasingly resentful of his father. He goes against his brother's and his son’s wishes to sustain the family that he had created with his deceased wife. Scarlett Johansson, Thomas Haden Church, Elle Fanning, and Colin Ford are among this capable cast. Such a complex main character arc would require deeper music.

This act of courage from a father to bring his grieving family together encapsulates the totality of Crowe’s career. His special ability to incorporate memorable songs into these films is uniquely shown in his utilization of the talent of Jónsi, lead singer of the Icelandic band Sigur Rós. Crowe had remained in collaboration with the band since featuring their music on 

and his constant listening to their music while making 

ultimately made him make this wise decision. He could’ve gone with Eddie Vedder, Neil Young, or a more popular American artist for the soundtrack, but he stuck to his guns and followed his heart. “Sinking Friendships” perfectly suits the emotional memories scene in the film.

Cameron Crowe's Ultimate Movie Music Playlist

Star-studded ensemble casts, a distinct color palette that’ll make any European cinema-crazed hipster gush, and a dry yet endearing sense of humor all characterize the filmography of Wes Anderson. However, one mustn’t count out how masterfully he incorporates music into his films. Genres such as folk, indie, classic rock, unique covers of classic rock, and more have all infused his works, helping to make the key scenes that much more memorable. He has you covered with delightful scores, but the soundtracks accompanying each movie should have a proper look. Here are the first seven entries in his filmography that all feature key needle-drop moments (

marks his latest era where the use of scores is almost exclusively what accompanies his visual cues), from 1996 to 2012.

Smells like a low-budget 90s independent debut. This explains the few but carefully picked rock songs that would enhance the picture. Owen Wilson’s Dignan rescues his friend played by Luke Wilson’s Anthony (acting debuts for both Wilson brothers) from a voluntary psychiatric unit. He gets him to agree to a plan to pull off several heists and then meets with part-time criminal Mr. Henry, played by the late James Caan. A crime caper dealing with rather disturbed figures certainly needs some fun, catchy tunes to maintain the light-hearted, comedic tone that Wes swims in.

“2000 Man” by the Rolling Stones plays as the climax of the 1996 film ensues, featuring our gang’s final heist being botched by the cops. Most notable, however, is “Over and Done With” by The Proclaimers, a perfect song for the film’s midpoint. It instantly makes you think of Dignan and Anthony and all their lovable eccentricities.

“They’ll never catch me, man, ‘cause I’m f**king innocent.”

For those who yearn for coming-of-age movies with a soundtrack that almost exclusively features British Invasion bands of the 1960s, look no further than Wes’ 1998 classic. Jason Schwartzman (in his film debut) plays Max Fischer, an ambitious 15-year-old who befriends 50-year-old wealthy industrialist Herman Blume, played by Bill Murray (which earned him respect as an actor in independent cinema) in their shared love over elementary school teacher Rosemary Cross, played by British actress Olivia Williams.

Cat Stevens, The Kinks, and John Lennon all get their chance to enhance memorable scenes within the film. It’s the closing number, “Ooh La La” by the Faces, however, that truly hits you in the sweet spot. The chorus encapsulates what makes the movie special. Confident yet inexperienced Max attempting to win over the world through pure passion is something anybody can relate to.

“I wish that I knew what I know now… when I was younger.”

His first major commercial success, and one that remains a fan favorite. It’s as stacked of a cast as it gets- the Wilson brothers back together, Gene Hackman, Gwyneth Paltrow, Ben Stiller, Bill Murray, Angelica Huston, and Danny Glover are all in the mix. Anderson would end up mastering the ensemble cast structure in his later efforts, but one can see why this was so iconic for its time. It’s the peak of dysfunctional families and redemption stories.

It’s what makes the utilization of introspective, provocative songwriters such as Lennon, Bob Dylan, Nick Drake, and Elliott Smith within the soundtrack so impactful. Smith’s “Needle in the Hay” certainly helps numb the pain of a rather uncomfortable sequence, while “These Days” by Nico will always floor the viewer along with Luke Wilson’s Richie when he has a gander at Paltrow’s Margot.

Wes takes familial trauma beneath the sea this time with this quirky, adventure comedy. We have a pretty healthy cast here- Murray and Owen Wilson are back in the game, as well as Cate Blanchett, Angelica Huston, Willem Dafoe, Jeff Goldblum, Michael Gambon, Bud Cort, and Noah Taylor. While it flopped upon its release, it has since become a cult classic and has been remastered by the Criterion Collection.

The whimsical nature of David Bowie in the film’s soundtrack (including covers sung in Portuguese by Seu Jorge, who plays Pelé) fits in perfectly with Murray’s Zissou and all his eccentricities as an oceanographer avenging the shark death of his best friend. Wilson’s Ned joins the documentary crew, claiming to be Zissou’s biological son. Bowie’s “Life on Mars?” plays during this emotional reveal and sets the tone of melancholia for the rest of the picture.

The Life Aquatic with Steve Zissou soundtrack

Wes goes East. The late great Irrfan Khan getting further exposure in Western cinema is what I, as the 90s/00s Hindi cinema devotee, loved most about this West meets East story. Owen Wilson, Adrien Brody, and Jason Schwartzman star as estranged brothers who agree to meet in India after their father’s funeral for a spiritual journey. Naturally, conflict arises between the brothers and it’s a bumpy ride. It’s through those disagreements, however, that their bond strengthens and they can forge a healthy relationship.

The Kinks and the Rolling Stones cover the usual 60s/70s fix, as well as the inclusion of film scores of Bengali filmmaker Satyajit Ray. The Kinks’ “This Time Tomorrow” sticks out most, the uncertainty of the lyrics coupled with Brody anxiously hopping on a train before it’s gone, the picture is what one can call traveler’s soup.

The first animated feature of Wes’ career also happens to be an adaptation of a classic children’s novel by the legendary Roald Dahl. Greed, classism, and family dynamics are all at play here, with memorable voiceover performances from George Clooney, Meryl Streep, Jason Schwartzman, Bill Murray, Willem Dafoe, and Owen Wilson. Alexandre Desplat’s score received an Oscar nomination. It also marks Wes’s second screenwriting collaboration with writer/director Noah Baumbach (who also uses Bowie in his soundtracks) and his second Oscar nomination for Best Animated Feature.

The Stones’ “Street Fighting Man” roars during a rebellious team-up sequence. Wes had been implementing the band’s work throughout his filmography but this is perhaps the most gripping due to the eye-popping colors and sheer zaniness of these animated characters.

Summer camp for runaways, rejects, and hopeless romantics. 

is considered one of Wes’ magnum opuses as a filmmaker, all of that dry, witty humor, glorious set designs, and ultimate relatability hits a new pinnacle here. I will never not list how stacked the casts in these films are- Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Jason Schwartzman, Lucas Hedges, and the debuts of Jared Gilman and Kara Hayward.

Teen mental health, neglectful parents, and Boy Scout life all are spotlighted, with Desplat teaming up with Wes again to compose a thrilling score. Our young lovers Sam and Suzy jam out to "Le Temps de L'Amour" by the late Françoise Hardy, which stands out from the soundtrack. It’s one of the most adorable, unique, and quirky dance sequences out there, and perhaps the peak of young summer love before the parents come and spoil the fun.

Wes Anderson's Ultimate Movie Music Playlist

Outside of, let’s say, blockbuster filmmaker Christopher Nolan, it’s hard to name a writer/director who deals with the passage of time better than Richard Linklater. Born in 1960, he was the prime candidate to be influenced by the popular music of the 70s. Most of his films contain stories that take place within a single day, focusing less on the plot and more on genuine human interactions. He aims to capture a vibe where two or more people meet and create a special energy we viewers want to be a part of. Music, of course, is an essential piece to making that method of filmmaking work, and rest assured, classic tunes from the 70s have made their way onto some of the very best and most personal Linklater pictures.

The entire article could’ve just been songs from this film if we’re being completely honest here. It’s a toss-up between this and George Lucas’ 

for best hangout movie of all time, and damn it, they’re competing for which has the better soundtrack too. So many young actors had their place in the sun in this magnificent depiction of teenagers engaging in gloriously juvenile behavior before high school and college pressures start to kick in. Matthew McConaughey, Parker Posey, Joey Lauren Adams, Milla Jovovich, Adam Goldberg, Cole Hauser, and Ben Affleck are among a talented group of young actors who got to flex their comedic chops.

It’s hard to find a cooler walk-in scene than McConaughey’s Wooderson entering a billiards room with Bob Dylan’s “Hurricane” accompanying his strut. It’s also hard to find a better opening credits jam than Aerosmith’s “Sweet Emotion.” Or a better climactic moment than Lynyrd Skynyrd’s “Tuesday’s Gone,” which turns up as the party starts to cool down. The soundtrack contains some of the biggest rock songs of the 1970s that Linklater can strategically place into his work to make the viewer audibly express that they love this film.

Not just for hopeless romantics- this trilogy is so natural that the harshest of cynics will admit that love still exists by the end of it. Ethan Hawke and Julie Delpy collaborate heavily with Linklater on this romantic drama series, each succeeding film occurring nine years after the last. 

Jesse and Celine meet on a train in Europe and decide to spend the night together in Vienna. The two fall in love and vow to meet again at the same place after six months. They don’t exchange contact information, though, so they don’t actually meet again until nine years have passed and Jesse is on a book signing tour in France.

features the two reconnecting and reminiscing about the fateful night. Their regret over not keeping in touch, or more to the point, getting together, permeates until Jesse is forced to make a decision about his next move.

Check out the full Before Sunset soundtrack here.

features our beloved couple married with children, and the often intense obstacles that come with that lifestyle.

’s record listening booth scene captures your heart the moment you lay your ears on it. Kath Bloom’s “Come Here” soars as our young couple quietly puts together that they will remember this moment and each other forever. 

Jesse puts on a live version of Nina Simone’s “Just in Time” at the end of 

while hanging out at Celine’s apartment. His plane ride back home to New York is coming soon, but it doesn’t matter. 

doesn’t involve niche records getting airtime, but it does end the trilogy with Graham Reynolds’ lovely theme, “The Best Summer of My Life.”

His biggest commercial success while also being one of the best movies about music out there (essentially a tailor-made film to discuss on this website). Jack Black, Joan Cusack, and Sarah Silverman star in this quirky comedy about a struggling musician who sneaks his way onto a substitute teaching job at a strict private school. He turns the class into a rock band, bringing the kids together to do something that they actually want to do. Youth coming together to create a special moment is what Linklater’s all about. This is why he agreed to direct Mike White’s (creator of the hit HBO series, 

Rock legends are sprinkled throughout the soundtrack- Led Zeppelin, The Who, The Doors, Cream, AC/DC, but it is the Jack Black numbers that really kick butt. The titular song features a powerful vocal solo from Maryam Hassan’s Tomika, which helps this eccentric yet undoubtedly passionate man reach his mission to truly rock and roll. He achieves his dream of leading a rock band but does it in the most inspiring way possible by helping bored and repressed children.

critically acclaimed and so memorable is the reason it later received backlash- it took 12 years to make! Some perceived it as a gimmick to appear more profound than the subject matter is. I’d argue that it makes those critics appear more pretentious than the filmmaker they think of as pretentious. As you can see, I am THE Linklater stan of Whatsong Blogs. Ethan Hawke, Patricia Arquette (in an Oscar-winning performance as a single mom putting her heart and soul into raising her children), and Ellar Coltrane star in this touching story of a family of divorce struggling to make things work. We witness Coltrane go through the perils of adolescence- teen drinking, abusive stepdads, awkward romances, the whole nine yards.

Hero’s “Family of the Year” hits you right in the feels as the film climaxes. It’s unforgettable. Our kid is all grown up and ready for college, with the lyrics opening with: “Let me go, I don’t wanna be your hero. I don’t wanna be a big man. Just wanna fight with everyone else.”

One also mustn’t forget Hawke’s Mason Sr. gifting his son The Black Album (no, not the 2003 release, sorry, Jay-Z), a compilation of solo work from members of The Beatles. He reminds his young son that each member was critical to making the band as special as they were. Right after, we hear Paul McCartney and Wings’ “Band On the Run,” easing us into the next scene.

Linklater referred to this absolute blast of a film as a “spiritual sequel” to the comedy classic 

, and honestly, I would argue it’s even funnier. Set in 1980s Texas, a group of college baseball players live together in an off-campus house. They’re presented with very strict house rules, but as we now know, those rules are meant to be broken when it comes to youth depicted in Linklaterian cinema. Blake Jenner, Zoey Deutch, Glen Powell, Tyler Hoechlin, Ryan Guzman, Wyatt Russell, and Austin Amelio are all competing to own any scene they’re in, particularly Powell’s Finn and Amelio’s Nesbit, who are both laugh-out-loud hilarious with any line delivery handed to them. That is a big reason they’d end up starring in Linklater’s latest 

A varied collection of headboppers features on the soundtrack for this movie. An absolutely delightful moment is when the boys sing along while riding around the neighborhood blasting The Sugarhill Gang’s “Rapper’s Delight” (pun absolutely intended). Philosophical stonerism can’t be unmentioned either, with Pink Floyd’s “Fearless” accompanying Wyatt Russell’s Charlie’s ramblings about how language is a construct. The S.O.S. Band’s “Take Your Time (Do It Right)” is meant for the dance floor, and our boys pick up girls like its basic instinct.

Richard Linklater's Ultimate Movie Music Playlist

Absolutely desperate characters. Mommy issues. Loneliness. Regret. Surrogate families that are as dysfunctional as any family. The San Fernando Valley, ladies and gentlemen! Such an ambitious and complex director as Paul Thomas Anderson might seem too cerebral and unpleasant to watch, but his filmography is entertaining and even endearing. You’ll never please everyone, but his place on the Mount Rushmore of 90s filmmakers is forever cemented. Never making the same movie twice is how Steven Spielberg once described Stanley Kubrick; the same could be said for Anderson. How much of a massive change in tone from 

is indicative of this, despite both being ensemble pieces dealing with the heavy subject matter. For as dark as the second half of 

gets, those disco tunes get your feet moving. 

dips into Aimee Mann’s discography to evoke a devastating feeling. We look at the soundtracks of his motion pictures to highlight how he picks a specific tune to break or mend our hearts.

This debut feature of an ambitious 26-year-old was not handled with care. After retitling and re-editing the picture, PTA managed to raise the $200,000 necessary to launch it. In addition to starring in the film, Philip Baker Hall, John C. Reilly, and Gwyneth Paltrow chipped in to help fund it. Samuel L. Jackson and Philip Seymour Hoffman also star in supporting roles. Sydney, a senior gambler, takes John, a homeless man, under his wing and helps him win back the money he owes in Las Vegas. Complications ensue when John falls in love with Clementine, a prostitute.

Jon Brion and Michael Penn provide the score for the picture, with “Clementine’s Loop,” a haunting score, making its way onto PTA’s following two features as well. “Craps Table” accompanies Hoffman’s one and only scene, a bouncy little tune that illustrates the delightful eccentricity of the character. He lights up a cigarette while getting competitive with Hall’s Sydney, preparing to shoot craps with who he perceives as a threat, repeatedly referring to him as an old timer. This intimate indie feature, accompanied by its lowkey score, would position PTA for the soundtrack-heavy epics he would soon endeavor.

may have usurped the throne now, but this, for many, has been regarded as the most accessible and exciting film in the PTA canon. Hilarious to make this case, knowing that it involves the 70s porn industry in the San Fernando Valley, but those of age repeatedly point to it as a rollickingly good time at the movies. The role that made Mark Wahlberg a movie star is an icon for the ages- Dirk Diggler, a runaway teen who joins a porn movie company in hopes of making it as a “big, bright shining star.” Julianne Moore, Burt Reynolds (in one of the finest comeback performances in cinema), Don Cheadle, John C. Reilly, William H. Macy, Heather Graham, Luis Guzmán, Nicole Parker, Alfred Molina, Ricky Jay, and Philip Seymour Hoffman are all on fire, an ensemble of working actors whose careers would take off after this.

An embarrassment of riches best describes the film’s soundtrack, rivaling 

for best soundtrack of the 90s. It opens with The Emotions’ popping “Best of My Love,” stacks up the middle section with Chakachas’ sensual “Jungle Fever” and War’s party playlist go-to “Spill the Wine,” climaxes with Rick Springfield’s electric “Jessie’s Girl,” and closes with The Beach Boys’ emotional love ballad “God Only Knows.” Disco, the late 70s into the early 80s, PTA knows how to be period accurate while making it all look sexy as hell.

The cycle of familial abuse is what Anderson decides to tackle following the death of his father. 

 is a three-hour epic mosaic with intertwining storylines, messy characters, and a whole lot of tears. It also takes place in the San Fernando Valley (not as many pornographic images this time around). Starring Tom Cruise (in an Oscar-nominated performance), Jeremy Blackman, Melinda Dillon, and Jason Robards (in his final film role), in addition to returning PTA movie cast members- Moore, Baker Hall, Seymour Hoffman, C. Reilly, Macy, Molina, and Ricky Jay all dive deeper into their dramatic chops. Our characters search for happiness, forgiveness, and the meaning of this dilemma called life.

Aimee Mann is the star of the film’s soundtrack. Her prior music served as an inspiration to PTA while writing the film. Mann wrote two songs for the movie: “You Do” and the closer “Save Me,” which was nominated for an Oscar for Best Original Song. “One,” the film’s opener,” is a cover of a 1968 Harry Nilsson song (its most famous cover belonging to Three Dog Night). “Wise Up,” featured during a sequence where the characters sing along, was initially written for Cameron Crowe’s 1996 classic Jerry Maguire (Cruise owned the 90s, didn’t he?) until Crowe decided it was too heartbreaking. It fits well with the sheer heartache our characters face in 

It’s not a film for all, but for those who need it.

Adam Sandler was a massive star in the late 90s and early 2000s and continues to be a Hollywood icon. One could say PTA was “selling out” with his 2002 collaboration with the comedy legend, but its box office bomb suggests otherwise. Anderson was such a fan of Sandler’s championing 

 that he wanted to utilize his talents through his intense microscope as a filmmaker. Sandler plays an entrepreneur with seven sisters (who all emotionally abuse him) coupled with severe social anxiety, often leading to serious violent outbursts. He falls in love with his sister’s co-worker, played by Emily Watson, and the two discover each other’s quirks and make one another stronger in the process. While coping with his loneliness prior to him dating her, he calls a phone sex line, which turns out to be a scam to extort money, run by a mattress store owner played by Philip Seymour Hoffman, who was put on Earth to make any movie a thousand times better.

Acclaimed composer and record producer Jon Brion takes center stage for the soundtrack. He offers lead vocals on “Here We Go,” a melancholy tune with lyrics that capture the protagonist’s plight. “He Needs Me” stands out most from Robert Altman’s 1980 film 

. Shelley Duvall’s lovely vocals complement the whimsy romance our characters immerse themselves into amongst the anxiety-ridden, cold-hearted world they belong in. There’s no country for old dreamers, but in a PTA production, they get to star in it.

We’ve made it. The Big Kahuna. The one in the history books they call magnum opus. The crowning achievement in cinema that turned America into the capitalistic greedfest that it now is. That last part is untrue, but the power of the movie remains. 

was tailor-made to be an epic, from its title to Daniel Day-Lewis (who makes like one movie every 30 years) to the olden-time period piece prestige it takes pride in depicting. A silver miner turned oilman spirals down a relentless pursuit of wealth during the Southern California oil boom of the late 19th century. It also stars Paul Dano, Kevin J. O’Connor, Ciarán Hinds, and Dillon Freasier.

 would require a musical artist with experience to assemble a piece of art that can be considered epic. Who better than Radiohead’s guitarist Jonny Greenwood, who played a massive part in the success of acclaimed albums such as 

? The drilling rig trouble turned into full-blown fire is one of the most remarkable set pieces in modern cinema, with Greenwood’s song “Convergence” being a crucial reason why the scene is so effective. The frantic pacing, the ferocity of the fire, oil everywhere, and a father’s duty to save his son are all captivating; however, the offbeat, experimental feel of the score carefully elevates this from a gripping period drama to innovative, masterful filmmaking. The scene would’ve been amazing without it, and the movie would’ve been too, but PTA knows how important music and sound are to a movie. With the score incorporated in, it is unforgettable.

Oh great, the Scientology movie. The movie that caused Tom Cruise to walk out of an early screening, who was utterly pissed off. Those who aren’t devotees of L. Ron Hubbard but instead fans of PTA will recognize 

as a fascinating character study. It follows a troubled World War II veteran who finds a home with a cult leader and his family. Philip Seymour Hoffman stars in his first leading role in a PTA movie, along with Joaquin Phoenix, Amy Adams, Jesse Plemons, Ambyr Childers, Rami Malek, and Laura Dern. The Church of Scientology was one of several inspirations, including the works of Thomas Pynchon and John Steinbeck and drunken Navy stories from the late Jason Robards.

This isn’t the last you’ll hear of Jonny Greenwood. He would go on to compose the score for the three films that would follow. The bold and harsh tones of his work are at his most extreme here in this soundtrack, “Able-Bodied Seamen,” encapsulating Phoenix’s character and the disturbed state of mind he finds himself wrestling with. “No Other Love (feat. Jo Stafford)” is a lonesome tune that soothes when our two characters split apart.

A chain smoker’s movie. It may not be his most accessible work, but it is every bit as fascinating. We’re back with a large ensemble cast- Joaquin Phoenix, Josh Brolin, Owen Wilson, Katherine Waterson, Eric Roberts, Reese Witherspoon, Benicio del Toro, Jena Malone, Martin Short, and Joanna Newsom. Doc, a stoner, hippie, and private investigator, twists into the 1970s Los Angeles criminal underworld.

Greenwood’s back in action on the soundtrack, capturing the groovy LA scene. Psychedelia is a wavelength you’re either on or off. It’s incoherent yet witty, with several 70s artists thrown in. The most sentimental moment the movie allows itself to reach is when Neil Young’s “Journey Through the Past” plays a nostalgic, rainy-day romance that may never be attainable again.

We’re back on the Daniel Day-Lewis period piece train. This time, it’s 1950s upper-class London, and it is unlike 

The Last of the Mohicans, Gangs of New York, 

in terms of how subdued and emotionally complex it is. Reynolds Woodcock is not among the natives, the baddest gangster, or an opportunistic oil tycoon; he’s a high-end dressmaker living in a nice, proper home with his sister and wife (also his artistic muse). You could say he’s as talented and passionate as those characters, but he isn’t physically harming anyone. Instead, it’s toxic emotional abuse. Lesley Manville and Vicky Kreips also star.

Greenwood researched the 1950s London music scene and conjured up a classical music composition for the soundtrack that is so charming to the ear that Johann Sebastian Bach would gush. The opener, “House of Woodcock,” and closer, “For the Hungry Boy,” depict the daily routine of a stubborn man and his need for a motherly figure in his spouse, respectively.

The film’s core romance was bound to stir up some controversy, with a 25-year-old woman who begins flirting with a 15-year-old boy. The kid is a bit of a cocky prick, while the girl is struggling to build her career (what person in their 20s can’t relate to). The dynamic works since much of the story relies on their friendship above all else. Some casual racism was bound to piss people off too, but the same could be said for 

. People didn’t give a damn back then, and you could be confident that they still don’t care now; they just hide it better. Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper, Skyler Gisondo, Mary Elizabeth Ellis, John Michael Higgins, Harriet Sansom Harris, and Benny Safdie are giving it their all. It’s hard to beat coked-out Bradley Cooper, though.

In terms of having the best soundtrack, I believe we’ve saved the best for last. The list went chronologically, of course, but his recent effort has the most fun collection since 

. Some of the most prominent ‘70s hits get shine; the film’s called 

for Pete’s sake, so you’d better have needle drops that deserve an extra spin. Opening with Nina Simone’s “July Tree,” our young protagonist falls for his older crush during Chris Norman and Suzi Quatro’s “Stumblin’ In,” a ride or die moment which is met with “But You’re Mine” by Sonny & Cher, The Doors’ “Peace Frog” blasting while our young hustlers collect cash, Paul McCartney and Wings’ “Let Me Roll It” intensifying while lust almost takes over, and David Bowie’s “Life on Mars?” which steals hearts while the summer of youth remains victorious.

Cameron Crowe's Ultimate Movie Music Playlist

Wes Anderson's Ultimate Movie Music Playlist

Richard Linklater's Ultimate Movie Music Playlist

Paul Thomas Anderson's Ultimate Movie Music Playlist

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