"Fun Size" Soundtrack Lyrics

"Fun Size (Music from the Motion Picture — selections & placements)" Soundtrack Description

Overview

How do you score a one-night, Halloween chase without drowning it in orange-and-black clichés? Fun Size answers with bright indie-pop needles and a gluey, character-first score. Passion Pit bookends the chaos (“Love Is Greed,” “It’s Not My Fault, I’m Happy”), while deep-catalog punches (Beastie Boys, Marky Mark & The Funky Bunch) and softer indie cues (Milo Greene, Sleeping at Last) steer mood without derailing jokes.

The original score—by Deborah Lurie after a late change from Lyle Workman—threads montage energy and gentle family beats. The film didn’t ship a commercial OST album; instead, placements live across streaming catalogs and cue sheets. Trade coverage (Film Music Reporter) confirms the scoring hand-off; scene-level song placements are well-documented by community databases and credits, and Variety’s review situates the film’s tone against its Nickelodeon pedigree.

Questions & Answers

Who composed the score?

Deborah Lurie; she replaced the initially attached Lyle Workman during post.

Is there an official soundtrack album?

No retail OST was issued; songs are scattered across artist releases and playlists. Scene indexing relies on credits and databases.

Who supervised the songs?

Music supervision is credited to Alexandra Patsavas (Chop Shop).

What’s the opening song?

Passion Pit’s “Love Is Greed,” used as the film’s opener and statement of tone.

What plays during the kid-abduction rescue chaos?

Beastie Boys’ “(You Gotta) Fight For Your Right (To Party!)” punches through Jörgen’s house raid, cut for kinetic comedy.

Which cue scores the cemetery beat?

Milo Greene’s “Autumn Tree,” a quiet reset before the final dash.

Who’s on the end credits?

Carly Rae Jepsen’s “This Kiss” rolls over closing credits after a brief sElf needle-drop (“Make Out in the Graveyard”).

Notes & Trivia

• “You Raise Me Up” blares in-car because the stereo knob is stuck—diegetic gag first, music cue second.
• Two Passion Pit cuts from Gossamer act like bookends: start-gun (“Love Is Greed”) and late-act sprint (“It’s Not My Fault, I’m Happy”).
• Placement humor leans literal: “Good Vibrations” underscores Albert’s club dance detour.
• A trailer track credit surfaces for Pigeon John’s “Set It Loose” (promo usage, not core narrative scene).
• No unified OST means fans rebuilt the album via playlists and cue sheets rather than label packaging.

Genres & Themes

Indie-pop & electro-pop → restless teen perspective; propulsion without cynicism (Passion Pit, Blondfire).

Throwback hip-hop / party cuts → comic adrenaline for hare-brained schemes (Beastie Boys, Marky Mark & The Funky Bunch).

Indie folk/pop → breathers that humanize the family plot (Milo Greene, Sleeping at Last).

Original score (light orchestral + rhythm beds) → stitches set-pieces and keeps Halloween texture playful rather than spooky.

Tracks & Scenes

“Love Is Greed” — Passion Pit
Where it plays: Opening title/first beats of Halloween night (non-diegetic).
Why it matters: Announces the film’s candy-bright pop palette and Wren’s restless POV.

“Black Magic” — Magic Wands
Where it plays: ~00:07 as Wren sorts a costume after the party invite (non-diegetic).
Why it matters: Dream-pop shimmer that keeps the night aspirational before it derails.

“You Raise Me Up” — Josh Groban
Where it plays: In the car when the stereo knob is stuck (diegetic).
Why it matters: Running gag; weaponized uplift turning into comic torture.

“Good Vibrations” — Marky Mark & The Funky Bunch
Where it plays: ~00:39 at the club while Albert dances with a girl (source/party diegesis).
Why it matters: Big, goofy bravado for a little kid’s unlikely hot-streak.

“Get Your Money Up” — Short Dawg
Where it plays: ~00:44 as Wren, Roosevelt, and Peng hit the party (source).
Why it matters: Signals the “wrong place, wrong vibe” escalation.

“Where the Kids Are” — Blondfire
Where it plays: Peng makes his hilariously transactional pitch to April (non-diegetic over party beats).
Why it matters: Title as wink; youth-culture gloss over tween-awkwardness.

“(You Gotta) Fight For Your Right (To Party!)” — Beastie Boys
Where it plays: Fuzzy raids Jörgen’s house with firecrackers; later reprises as rescue energy (non-diegetic).
Why it matters: Classic delinquent anthem—perfect for a reckless break-in.

“It’s Not My Fault, I’m Happy” — Passion Pit
Where it plays: Wren’s sprint across Cleveland to reach Albert at Jörgen’s (non-diegetic).
Why it matters: Nervy, major-key urgency under a sister’s do-or-die dash.

“Autumn Tree” — Milo Greene
Where it plays: Quiet cemetery visit for Wren and Albert (non-diegetic).
Why it matters: A hush that lets the sibling story breathe.

“Masquerade” — Sleeping at Last
Where it plays: Roosevelt finally kisses Wren; April wakes at Aaron’s party; dawn aftermath (non-diegetic).
Why it matters: Gentle resolution cue—soft edges after a loud night.

“Make Out in the Graveyard” — sElf
Where it plays: Final beat into end credits, before the pop single (non-diegetic).
Why it matters: Halloween-on-brand wink before the glossy closer.

“This Kiss” — Carly Rae Jepsen
Where it plays: End credits (non-diegetic).
Why it matters: Radio-ready sugar rush to send audiences out smiling.

Trailer music: Pigeon John’s “Set It Loose” appears in promo use. Additional listed cues (e.g., Bex “Life of the Party,” Kovas “Grape Drank”) surface around party sequences.

Music–Story Links

Wren’s arc toggles between obligation and impulse; the pop-forward needle-drops keep her agency buoyant. The Beastie Boys cue reframes vandalism as farce so the rescue reads naughty-fun, not menace. The cemetery interlude (“Autumn Tree”) refracts grief without syrup, making the final reconciliations warmer. And because “You Raise Me Up” is trapped in-car, the joke literalizes how adults’ tastes smother teen space—until the kids reclaim the dial.

How It Was Made

Deborah Lurie took over scoring duties in late summer 2012; earlier materials had listed Lyle Workman. The supervision side bears Alexandra Patsavas’s fingerprints: contemporary indie/alt selections balanced with recognizable classics that play punchline and propulsion. The film’s Nickelodeon/Paramount context limited edge, but the music team kept energy high and jokes musicalized without chasing novelty for its own sake.

Reception & Quotes

While the film drew mixed-to-negative reviews, several outlets noted its candy-coated pacing—music helps. Variety and ScreenDaily frame it as a tween-skewing night-quest with flashes of older-teen mischief.

“A hydra-headed attempt to dirty up the Nickelodeon brand… ” Variety

“Perky tone with mildly risqué humour aimed at the older end of the tween-teen spectrum.” ScreenDaily

“Deborah Lurie has taken over scoring duties on the teen comedy Fun Size.” Film Music Reporter

Additional Info

• No commercial OST; cues live on artist albums/EPs and digital singles.
• Opening/late-act Passion Pit cuts are both from Gossamer (2012).
• End-credits pivot from Halloween-quirk (sElf) to radio sheen (Carly Rae Jepsen).
• Community listings capture timestamps for party/raid/club beats with unusual accuracy for a mid-budget comedy.
• Trailer placement (“Set It Loose” — Pigeon John) differs from in-film highlights.

Technical Info

• Title: Fun Size
• Year: 2012
• Type: Live-action teen Halloween comedy (song placements + original score)
• Score Composer: Deborah Lurie (initially attached: Lyle Workman)
• Music Supervision: Alexandra Patsavas (Chop Shop)
• Label/Album: No official soundtrack album released; songs available via artist releases
• Key placements (select): Passion Pit “Love Is Greed”; Beastie Boys “(You Gotta) Fight For Your Right (To Party!)”; Marky Mark & The Funky Bunch “Good Vibrations”; Milo Greene “Autumn Tree”; Carly Rae Jepsen “This Kiss”
• Release context: Theatrical opening October 26, 2012 (Paramount/Nickelodeon)

Canonical Entities & Relations

Sources: Film Music Reporter; Variety; ScreenDaily; WhatSong; IMDb Soundtracks page; Wikipedia (film entry).

November, 09th 2025