The 30 Best Fight Scene Songs in Movies

In creating compelling fight sequences for a movie, several elements come together, including the choreography, camera work, and audio design. Typically, these battles are set to an instrumental soundtrack. However, sometimes directors opt for a unique approach by incorporating well-known tunes instead.

Finding a song that harmoniously matches the atmosphere and narrative of a particular fight scene can be quite challenging, often resulting in an awkward fit. However, many films have successfully paired songs with their iconic fight sequences, enhancing their impact and making them unforgettable cinematic moments.

The Married Couple Try to Kill Each Other, But In a Funky Way

Following the revelation that John Smith (Brad Pitt) and his wife Jane Smith (Angelina Jolie), who are actually secret assassins employed by competing freelance intelligence agencies, the movie “Mr. and Mrs. Smith” escalates to the initial intense showdown between the spouses. They were unaware of each other’s clandestine profession, leading them to believe that their partner intended to eliminate them. Consequently, they engaged in a confrontation at their home, suspecting their spouse as a potential threat.

Utilizing the catchy phrase “Express Yourself” implies this conflict isn’t intense or grave, instead it’s more of a comical battle. Despite its violent nature, the skirmish is intended to be humorous, showcasing the couple’s bickering as they demolish their house with an array of hidden weapons they’ve collected around their home.

As they brandish their weapons menacingly towards one another, the music suggests to spectators that it’s unlikely this pair will harbor resentment for long, since it appears they’ll ultimately collaborate to discover who’s manipulating them into conflicting interests.

Martin Scorsese Surprisingly Went Modern for This Period Piece Song

In Martin Scorsese’s grand portrayal of the criminal underbelly of 1860s New York City, titled “Gangs of New York“, my journey begins with an intense, city-shaking clash that took place in 1846. This epic battle was between the Anglo-Protestant Confederation of Native Americans and the Irish-Catholic “Dead Rabbit” gang. This climactic conflict was their last standoff to establish dominance over the infamous “Five Points”. The leader of the Confederation, Bill “The Butcher” Cutting, portrayed by Daniel Day Lewis, wielded a butcher knife in this brutal melee, showcasing the ruthless simplicity of their weapons.

At the point when Martin Scorsese released this movie, Peter Gabriel was already well-established and renowned in his career. However, Scorsese selected a relatively recent composition by Gabriel at that time, titled “Signal to Noise.” Interestingly, Gabriel reworked this song specifically for the film. The song initially unfolds gradually with a gentle orchestral melody that echoes the sorrow of the violence depicted. As the action intensifies, so does the song. It creates an epic blend of music and visuals that is both powerful and moving.

This a Rare “Needle Drop” That the Characters Are Actually Listening to As They Fight

David Leitch is a prominent action director making waves in cinema today, known for his innovative use of contemporary music in films. In the movie “Atomic Blonde”, which takes place just before the fall of the Berlin Wall in 1989, he cleverly incorporated ’80s tunes to create the film’s soundtrack. Initially, his producers were unsure if they could secure all the songs David wanted for the project, but:

Initially, my producers appeared skeptical about acquiring all the required songs, but I was adamant that we could make it happen. They were crucial for the vision in my mind, and everyone seemed intrigued by the challenge. In the end, it was like persuading Focus to invest funds for extra songs, which they did after viewing the film. Their reaction was something like, “Wow, we’re funding these songs.” If you appreciate the ’80s era, I believe you will enjoy the soundtrack. It’s a blend of various ’80s tunes, almost an abstract ’80s medley.

Among the songs they failed to secure was “Take My Breath Away,” yet Leitch masterfully switched to George Michael’s “Father Figure” in an intense battle sequence where the main character, Lorraine Broughton, single-handedly defeated numerous assailants with a rope. Interestingly, she had already played the cassette on her sound system prior to the fight starting, allowing everyone to enjoy it.

Quentin Tarantino’s Mastery of Obscure 1970s Classics Continues With This Sequence

Quentin Tarantino is recognized for his talent in selecting lesser-known songs to incorporate into his films, such as Stealers Wheel’s “Stuck in the Middle With You” in “Reservoir Dogs,” which significantly impacted the song’s association with America. However, these musical selections were not commonly used in fight scenes. This pattern shifted dramatically with Tarantino’s two-part movie, “Kill Bill,” released in 2003 and 2004, where the song “Don’t Let Me Be Misunderstood” was prominently featured in combat sequences.

Initially composed for Nina Simone, whose rendition was released in 1964, later became a rock song by The Animals in 1965. Fast forward to 1977, the disco group Santa Esmeralda added their unique touch to the same tune. Quentin Tarantino brilliantly incorporated this version into the beginning of the sword fight between Beatrix “the Bride” Kiddo (Uma Thurman) and her ex-colleague O-Ren Ishii (Lucy Liu), in Kill Bill. The opening is full of energy, but after O-Ren inflicts a severe wound on the Bride, the music unexpectedly halts, leaving the rest of the fight in silence. Tarantino demonstrates not only his talent for using music, but also when to withhold it.

The Classic Pop Song was Originally Written for a Film

Originally composed for the movie “Footloose,” the powerful ballad “Holding Out for a Hero” has since found its way into numerous films, particularly action movies, where its sincere lyrics are often used humorously. Due to its frequent usage, it’s become challenging to truly appreciate films that incorporate it, which is why the movie “Bullet Train” creatively reworked the song, and the adaptation was successful.

David Leitch’s movie features a high-speed bullet train bound for Tokyo, and in an ingenious move, Leitch employs a Japanese rendition of Asakura Miki’s song (Miki specifically recorded the track for the film) during the climactic battle scene. With the plot twists unfolding, it comes down to a game of survival: who will outlive whom before the train collides with downtown Tokyo.

The Song Was Heavily Used in the MCU Film’s Marketing

In contrast to expectations, Thor: Love and Thunder fell short for Marvel Cinematic Universe (MCU) enthusiasts, not meeting the high standards of its previous installment. However, one impressive aspect reminiscent of Ragnarok was the inclusion of a popular rock song during an intense superhero fight scene. Notably, the promotional materials for the movie heavily featured Guns N’ Roses’ “Sweet Child o’ Mine”, which made another appearance in a pivotal battle between Thor and Gorr the God Butcher.

The iconic song “Sweet Child o’ Mine” unexpectedly ties in with the overarching narrative of “Thor: Love and Thunder.” In this film, the antagonist, Gorr, wages war against the gods due to his daughter’s demise, which he believes they could have prevented. Following Gorr’s death, Thor takes in and raises his daughter, Love, as his own child. This means that “Sweet Child o’ Mine” doesn’t just serve as a powerful track for an intense battle sequence, but it also plays a significant role in emphasizing the fundamental themes of love and parenthood within “Thor: Love and Thunder.

The Song Perfectly Underlines Corky Romano’s Big Fight

The 2001 mafia comedy film “Corky Romano” was met with harsh criticism upon its release yet developed a devoted fanbase known as cult followers. One of the standout scenes from the movie is when Corky finds himself captured by a group of modern-day neo-Nazis. As they listen in secret, Corky’s siblings, who had been tuned in via a concealed earpiece, make the daring decision to launch a rescue mission for their brother.

As Twisted Sister’s “We’re Not Going to Take It” blares, the Romanos and their allies storm the hideout, swiftly overpowering the captors, making it more of a one-sided thrashing than a battle. This intense moment, with its fitting soundtrack and the delight at seeing neo-Nazis receiving their due, certainly warrants recognition. Dee Snider’s iconic rebel song strikes a perfect chord in this scenario.

The Uppity Music Perfectly Contradicts Deadpool’s Horrific Kills

In most action films, high-intensity fights synchronized with popular songs create a fast-paced rhythm mirroring the scene’s intensity. However, Deadpool 2 deviates from this pattern. Instead of an intense and rapid song, as the movie starts, Deadpool is depicted battling numerous organized crime families worldwide. An unexpected choice for this action-packed montage is Dolly Parton’s “9 to 5,” a tune originally composed for the film bearing the same title, which revolves around three women exacting revenge on their oppressive boss.

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In most action movies, fast and intense songs complement fight scenes. However, Deadpool 2 breaks this pattern by using Dolly Parton’s “9 to 5” during a montage where Deadpool fights various global organized crime families. This song was initially created for the movie of the same name, which tells the story of three working women seeking revenge against their cruel boss.)

The playful melody fits surprisingly well with it, even though it’s grim. Working as a mercenary, Deadpool’s killing spree is similar to donning a tie and going to the office. This segment wonderfully illustrates Deadpool’s daily grind, his 9-5 job, if you will.

A Surprisingly Light Song Opens GotG’s Final Battle

In the movie “Guardians of the Galaxy,” you’ll find a host of catchy tunes from the 70s and 80s, most being energetic rock anthems that emphasize the film’s epic scope. One unexpected addition is Five Star’s cheerful and airy “O-o-h Child,” which plays a crucial role in the storyline. At a critical moment when Ronan the Accuser threatens to destroy Xandar, Star-Lord intervenes by singing the well-known chorus of this song before proposing a dance-off against the villain.

People wouldn’t have thought ‘O-o-h Child’ would be used in a fight scene from a movie like Guardians of the Galaxy, given its unexpected nature. Yet, it perfectly complemented the film’s quirky vibe. Star-Lord employed this song to divert Ronan while his teammates regrouped, but the moment still stands out as iconic, with the Five Stairsteps contributing to saving an entire planet.

A Fight and a Dance Open This Epic MCU Sequel

Following the massive triumph of Guardians of the Galaxy, the 2017 follow-up included an array of iconic rock tunes, one of them being ELO’s “Mr. Blue Sky”. This tune accompanies the movie’s opening credits, during which the Guardians of the Galaxy engage in a colossal space battle against a monstrous alien creature. The skirmish, filled with chaos and disarray, serves as an indication that the team is still adjusting to their roles after their initial mission. Yet, viewers might miss out on most of this fight due to Baby Groot’s captivating dance performance intended to delight the audience.

One unforgettable moment in “Guardians of the Galaxy Vol. 2” is largely attributed to Groot’s charming dance routines. Although there isn’t much combat displayed on screen, the movie offers glimpses that suggest the Guardians are taking a beatinguntil clever tactics eventually turn the tide. Nevertheless, it’s Groot’s contribution to this sequence that viewers are likely to recall the most.

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2025-05-21 11:28