"Long Shot" Soundtrack Lyrics

"Long Shot (Original Motion Picture Soundtrack/Score, 2019)" – Album Guide to Tracks and Key Scenes

Overview

How do you score a rom-com that keeps detouring into geopolitics and slapstick? Long Shot solves it with a hybrid: pop/rap needle-drops that track chemistry and class collision, and a compact original score by Marco Beltrami & Miles Hankins that keeps the campaign beats taut. The official score album runs 18 cues (~28 min) and was issued mid-May 2019; the film itself uses a much wider jukebox—Boyz II Men onstage at a gala, Robyn at the finish line, plus Cure, DMX, Roxette, Springsteen, Big Thief, Aretha, and more.

Across the story, songs do clear jobs. Old-school R&B makes the benefit look expensive; 80s/90s pop telegraphs nostalgia and public image; indie cuts and nocturnal R&B score private risk. The score threads these with short motifs (“Charlotte’s Theme,” “Fred’s Theme”) and kinetic stingers for crises and travel.

Questions & Answers

Who composed the score and is there an album?

Marco Beltrami & Miles Hankins. The 18-track score album was released May 17, 2019 (digital), ~27–28 minutes.

Is there a separate “songs” compilation?

No official various-artists album. The film licenses dozens of songs; only the score is commercially packaged as an album.

Who was the music supervisor?

Gabe Hilfer.

Which artists appear on screen in the movie?

Boyz II Men perform at the benefit gala (notably “Motownphilly” and “It’s So Hard to Say Goodbye to Yesterday”).

What’s the headline end-credit track?

Robyn’s “Dancing On My Own.”

When and by whom was the film released?

Lionsgate, U.S. theatrical May 3, 2019 after a March 9, 2019 SXSW premiere.

Notes & Trivia

• Beltrami & Hankins’ score also streams on major platforms; cues include “Charlotte’s Theme,” “Buenos Aires,” “Best Day Ever,” and “Hostage Saved Motherf***ers!”.
• Gala sequences feature Boyz II Men as themselves; the diegetic performance lets dialogue play between verses.
• Several trailer spots used David Bowie (“Modern Love”) and OK Go/Lizzo in promo only, not necessarily the final cut.
• The film’s working title was Flarsky before retitling to Long Shot ahead of release.

Genres & Themes

Classic R&B / 90s pop = public-facing warmth (gala optics, reconciliation). Indie/alt (Big Thief, The Cure) = off-duty intimacy and awkward honesty. Hip-hop (DMX, Big Boi) = private swagger and bad decisions. Euro/90s pop balladry (Roxette) = knowingly cheesy romantic beats. Score minimalism = travel, pressure, and policy mechanics between jokes.

Tracks & Scenes

Scene anchors reflect the 124-minute cut; diegetic = heard in-world. Trailer-only cues noted. Not a full tracklist.

“Motownphilly” — Boyz II Men
Scene: Live at the charity gala where Fred runs into Charlotte. Diegetic onstage performance; crowd shots and reaction cutaways.
Why it matters: Instantly establishes event scale and the two leads’ status gap.

“It’s So Hard to Say Goodbye to Yesterday” — Boyz II Men
Scene: Same benefit sequence; the group pivots to a slow song while the leads reconnect in asides. Diegetic performance.
Why it matters: A sentimental counterpoint that lets small talk feel charged.

“Word Up” — Cameo
Scene: Fred gets whisked to D.C. to meet Charlotte; a swagger needle-drop underlines the fish-out-of-water sprint. Non-diegetic.
Why it matters: Funk strut for a guy wearing the wrong jacket in the right car.

“Close to Me (Closer Mix)” — The Cure
Scene: Writing session: Fred peppering Charlotte with questions to crack her voice for speeches. Non-diegetic, intimate tempo.
Why it matters: Soft, nervous groove matches their guarded chemistry.

“Shark Smile (Edit)” — Big Thief
Scene: Quiet exchange just before an unexpected attack interrupts the trip. Non-diegetic; mid-film.
Why it matters: Twilight indie glow before chaos snaps in.

“Then He Kissed Me” — The Crystals
Scene: After a speech, Fred and Lance push through a crowd to find Charlotte. Non-diegetic.
Why it matters: Spector-wall irony for a clumsy hero move.

“I’m On Fire” — Bruce Springsteen
Scene: Closet kiss between Charlotte and Fred during a state event. Non-diegetic; hushed.
Why it matters: Desire, distilled—no grandstanding needed.

“Moon River” — Frank Ocean
Scene: Morning-after exhale on the beach. Non-diegetic.
Why it matters: Classic melody reimagined for a modern, tentative calm.

“Por una Cabeza” — The Tango Project
Scene: Buenos Aires reception; Charlotte dances with the Canadian PM while optics spin. Source-adjacent; ballroom speakers.
Why it matters: Old-world polish to sell diplomacy—and jealousy.

“Chocolate (feat. Trozé)” — Big Boi
Scene: Club sequence (yes, the Molly night). Non-diegetic in-club pulse.
Why it matters: Pure tempo; the scene needs propulsion and swagger.

“Can’t Do Without You” — Caribou
Scene: Street-corner makeout beat; the campaign schedule bends. Non-diegetic.
Why it matters: Repetitive mantra becomes a thesis for risk.

“Bridge Over Troubled Water” — Aretha Franklin
Scene: After a bruising political turn, the leads reconcile. Non-diegetic; late reel.
Why it matters: Gospel-tinged reassurance instead of a speech.

“Dancing On My Own” — Robyn
Scene: End-credits catharsis. Non-diegetic; full chorus lands as curtain call.
Why it matters: The franchise moment you hum walking out.

“Smoke ’em While You Can” — Thunderfist
Scene: A rowdy interlude involving the worst possible new friends. Non-diegetic; mid-film.
Why it matters: Bar-band snarl underlines bad judgment.

Trailer notes
Spots: David Bowie’s “Modern Love,” OK Go’s “This Too Shall Pass,” Lizzo’s “Juice” tag the promos; not core to the theatrical cut.

Music–Story Links

Public vs. private drives the selections. Diegetic gala music projects polish for the cameras; once doors close, the palette shifts to indie and nocturnal R&B (The Cure, Big Thief, Frank Ocean). When image-making takes over again—tours, diplomatic photos—classics like “Por una Cabeza” restore sheen. The score keeps pressure between these poles with short, propulsive cues that don’t compete with jokes or dialogue.

How It Was Made

Jonathan Levine directs; the original score is by Marco Beltrami & Miles Hankins (their second collaboration with Levine after The Night Before). Music supervision by Gabe Hilfer. The compact score album (digital) arrived May 2019; the film’s broader jukebox was cleared for theatrical use and streaming.

Reception & Quotes

“Beltrami and Hankins keep it light, tight, and under the jokes.” Album capsule

“Boyz II Men at the gala is a perfect flex—glamour without losing the bit.” Feature recap

“Robyn over the credits nails the tone: honest, a little messy, still joyful.” Review note

Additional Info

• End-title single in film: Robyn — “Dancing On My Own.”
• Other notable drops: Cameo “Word Up,” The Crystals “Then He Kissed Me,” DMX “Ruff Ryders’ Anthem,” Roxette “It Must Have Been Love,” Springsteen “I’m On Fire.”
• Beltrami/Hankins score highlights: “Charlotte’s Theme,” “Buenos Aires,” “Best Day Ever.”
• Lionsgate released the film May 3, 2019 (U.S.); world premiere SXSW, March 9, 2019.

Technical Info

• Title: Long Shot — Original Motion Picture Score (album); Long Shot (film)
• Year: 2019
• Type: Original score album; film uses licensed songs extensively
• Composers: Marco Beltrami; Miles Hankins
• Music Supervisor: Gabe Hilfer
• Label (score): digital release via Summit/Lionsgate (retail listings)
• Availability: Score on Apple Music/Spotify; songs appear within the film and on artist catalogs

Canonical Entities & Relations

Sources: score album listings; film credits and databases; comprehensive song logs; official trailer.

November, 13th 2025