"Hot Pursuit" Soundtrack Lyrics

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"Hot Pursuit" Soundtrack Description

Overview

What happens when a buddy-comedy sprints through Texas with a trunk full of country, Latin pop, and swaggering funk? Hot Pursuit answers with a needle-drop strategy that keeps the chase light on its feet while the score stitches tension between gags. Christophe Beck’s score supplies the propulsion; the song picks add character attitude and regional color.

The distinct flavor comes from pairing glossy radio cuts (Mark Ronson & Mystikal’s brassy strut; Charli XCX’s rebellious pop) with twang (Lynn Anderson’s “Rose Garden”), party cues with Latin flair, and a bespoke end-credits single by Miranda Lambert (“Two of a Crime”) commissioned for the film. The result: a jukebox that signals who’s in control of a scene—by-the-book Cooper or freewheeling Daniella—without stepping on the punchlines.

Questions & Answers

Who composed the score for Hot Pursuit?

Christophe Beck composed the original score.

Was a song written specifically for the film?

Yes. Miranda Lambert wrote and recorded “Two of a Crime” for the end credits.

Who handled music supervision?

Buck Damon served as music supervisor.

Does the film lean more on songs or score?

It mixes both—short, comedic song stings for character beats and Beck’s rhythmic score for chase momentum.

Is every featured song on an official soundtrack album?

No. Several needle-drops are placement-only; Lambert’s single released separately.

What styles dominate the song choices?

Country-pop, Latin-inflected party tracks, classic rock cuts, and mid-2010s pop/hip-hop.

Any diegetic moments worth noting?

Yes—party sequences and an in-story performance at a cartel party are diegetic.

Notes & Trivia

• “Two of a Crime” was sparked by a text request from Reese Witherspoon to Miranda Lambert.
• Christophe Beck’s score for Hot Pursuit was submitted in the 2015 Oscars original score roster.
• Elle King appears twice on key placements: the opener and a chase cue.
• Lynn Anderson’s “(I Never Promised You A) Rose Garden” is used as a comic radio flip—tone whiplash by design.
• The film’s production companies (New Line, MGM, Pacific Standard) leaned into a “Thelma & Louise” buddy energy musically, but with broader pop gloss.

Genres & Themes

Country & Americana → loyalty and mischief: Lambert’s end-credits anthem reframes the duo as co-conspirators—partners who choose each other despite chaos.

Latin party cues → location & power dynamics: Salsa/Latin-tinted tracks at cartel spaces announce who owns the room; when Cooper intrudes, the music becomes a cultural obstacle as much as a vibe.

2010s pop-rap/funk → swagger vs. order: Mark Ronson/Mystikal’s horn-driven funk sells Daniella’s “don’t blink” energy; it clashes productively with Cooper’s procedural instincts.

Classic rock → comic shock cuts: A loud “Black Betty” drop pivots a scuffle from threat to slapstick, signaling we’re here to laugh, not wince.

Tracks & Scenes (Key Moments)

“American Girl” — Elle King
Where it plays: ~00:01, opening. Non-diegetic title-energy, establishing a fizzy, rebellious tone for Cooper’s backstory montage.
Why it matters: Sets a playful “not your dad’s cop movie” promise and primes the odd-couple dynamic early.

“Feel Right” — Mark Ronson feat. Mystikal
Where it plays: ~00:07, in-car as Cooper and Det. Jackson head to Riva’s house; non-diegetic needle-drop with on-screen sync to the drive.
Why it matters: Injects swagger and forward motion, foreshadowing the chase-comedy rhythm the film rides.

“Drinky Drink” — Frankie Ballard
Where it plays: ~00:22, bar return; diegetic atmosphere as Cooper & Daniella try to shake off dirty cops.
Why it matters: Country twang in a rowdy space underscores the duo’s “fish out of water” scramble.

“Catch Us If You Can” — Elle King
Where it plays: ~00:25, car theft & scramble; non-diegetic chase needle-drop.
Why it matters: Title-as-text gag—music literally dares the pursuers, matching the movie’s wink.

“(I Never Promised You A) Rose Garden” — Lynn Anderson
Where it plays: ~00:40, Cooper spins the radio until landing on this; diegetic.
Why it matters: A kitschy, sunny counterpoint that makes the peril feel absurd, keeping stakes comic.

“Black Betty” — Ram Jam
Where it plays: ~00:55, hotel-room tussle for a gun; non-diegetic punch-in.
Why it matters: Classic-rock riff reframes danger as slapstick chaos—laughs over fear.

“Carnavalera” — Nossa
Where it plays: ~01:08, first party cue; diegetic at the cartel bash.
Why it matters: Signals territorial shift—Daniella’s comfort zone vs. Cooper’s discomfort.

“Break the Rules” — Charli XCX
Where it plays: ~01:12, party confrontation as Cooper finds her boss; non-diegetic.
Why it matters: The lyric stance maps onto Cooper’s forced rule-breaking—character bend set to pop rebellion.

“Family Show” — Deluxe
Where it plays: ~01:13, performed by Cortez’s daughter at the party; diegetic in-world performance.
Why it matters: Story-world music used to soften the room before leverage flips—smiles, then menace.

“Two of a Crime” — Miranda Lambert
Where it plays: ~01:21, end credits; non-diegetic single written for the film.
Why it matters: Summarizes the Cooper–Daniella arc as chosen partnership; a friendly bow on the chase.

Trailer note: Marketing featured contemporary pop/hip-hop cues consistent with the film’s placements; the official theatrical trailer (above) reflects that high-tempo, brass-and-beats palette.

Music–Story Links

Whenever Daniella seizes control—talking circles around cops or stirring a crowd—the soundtrack leans into funk or Latin party tracks, amplifying her kinetic bravado. When Cooper tries steering back to procedure, country radio and steady score motifs return, re-centering duty over chaos. The brief diegetic performance at the cartel party weaponizes music as social camouflage; it buys seconds that the plot turns into escape.

How It Was Made

Score: Christophe Beck, a frequent studio comedy hand, builds rhythmic, percussive cues for the chases and leans playful between stings so laughs land cleanly.

Supervision: Buck Damon’s placements thread Texas radio culture with 2010s chart energy; a purposeful contrast between Cooper’s order and Daniella’s heat.

Commissioned single: “Two of a Crime” was written at Witherspoon’s request, with Lambert co-writing alongside Natalie Hemby and Nicolle Galyon to mirror the film’s “Southern + Latin” brief.

Reception & Quotes

Critics were tough on the film overall, but singled out the performers’ chemistry; the music choices were noted as bright, reactive dressing for the action-comedy tone. The end-credits single drew country-press attention ahead of release.

“Horny funk grooves kick the chase into gear.” trade coverage of early placements

“Lambert’s arrangement captures the movie’s spirit as much as her lyrics.” Taste of Country

“A quiet triumph of tone and timing.” The Village Voice on the film’s comedic rhythm

Additional Info

• End-credits single “Two of a Crime” released in late April 2015 ahead of the film’s May 8 U.S. opening.
• Not all film songs appeared on a commercial soundtrack album; several are placement-only.
• Diegetic cues at the cartel party help sell location authenticity without heavy exposition.
• Elle King’s double-use provides a bookend effect for the duo’s “outlaw-but-fun” vibe.
• Classic-rock and country drops are mixed at comedy-friendly levels—punchy intros, quick exits.
• Score motifs recur in abbreviated form to keep pace with brisk 87–88 min runtime.
• Supervision and licensing credit: Buck Damon (supervisor), Anastasia Brown (music consultant).

Technical Info

• Title: Hot Pursuit — Songs & Score overview
• Year: 2015 (theatrical release: May 8, 2015)
• Type: Feature film soundtrack & placements (no comprehensive commercial OST release); standalone single: “Two of a Crime.”
• Composers: Christophe Beck (score)
• Music Supervision: Buck Damon; Music consultant: Anastasia Brown
• Selected notable placements: “American Girl” (Elle King), “Feel Right” (Mark Ronson feat. Mystikal), “(I Never Promised You A) Rose Garden” (Lynn Anderson), “Black Betty” (Ram Jam), “Break the Rules” (Charli XCX), “Two of a Crime” (Miranda Lambert)
• Studios/Release: New Line Cinema / Metro-Goldwyn-Mayer / Pacific Standard; distributor: Warner Bros. Pictures
• Formats/Availability: Score cues embedded in film; end-credits single available on digital services; many commercial songs available on their respective label releases.

Canonical Entities & Relations

Subject	Verb	Object
Anne Fletcher	directed	Hot Pursuit (2015)
Christophe Beck	composed score for	Hot Pursuit (2015)
Buck Damon	served as	Music Supervisor (Hot Pursuit)
Anastasia Brown	served as	Music Consultant (Hot Pursuit)
Miranda Lambert	wrote and performed	“Two of a Crime” (end-credits song)
Elle King	performed	“American Girl”; “Catch Us If You Can” (placements)
New Line Cinema / MGM / Pacific Standard	produced	Hot Pursuit (2015)
Warner Bros. Pictures	distributed	Hot Pursuit (2015)

Sources: IMDb; Variety; The Numbers; Wikipedia; Film Music Reporter; SoundtrackRadar; Rolling Stone; Taste of Country.

Everything flows, everything changes. Striking blonde was long ago played by Reese Witherspoon, and now this role is given to Sofia Vergara with no doubts. You may find discrepancies in the script and call to question the possibility of what is happening on the screen in general, but if you have a cheerful mood, please do spend a couple of hours on this film. At the very least, just to look at the wrinkled 40 years old Reese Witherspoon. Slight music from different genres – pop, rock, folk, rap, catchy bachata, instrumental, dance disco with beats, glam rock – calls no obligatory responsibilities and sometimes somewhere looks very alike to other films. For example, in the Brother song, one of the themes of the «Inside Out» film from the studio Pixar may be heard. And song named Catch Us If You Can is a direct link to "Catch me if you can" with Leonardo Dicaprio. Frankie Ballard greatly lights evening with his groovy Drinky Drink . And the Rose Garden song is included also in the soundtrack for another film, standing next to this on the site here – Saint Laurent. The collection improves mood much thanks to its clockwork melodies of Latin dances, energizing, flowing from the rock and folk. Well, in general, it is quite a match for the film – the same easy one with a pleasant, expected happy ending and totally artificial antagonistic characters.

November, 10th 2025

More about "Hot Pursuit" on IMDb and Rotten Tomatoes

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