"Love, Simon" Soundtrack Lyrics

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"Love, Simon (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

How do you make a teen coming-out story feel like a classic high-school rom-com and something quietly radical at the same time? The Love, Simon (Original Motion Picture Soundtrack) answers with bright indie pop, deep-cut soul, and score cues that carry a closeted kid from suburbia to a ferris-wheel kiss without ever losing the pulse of a Friday-night playlist.

Curated by Jack Antonoff and overseen musically by Season Kent, the 2018 soundtrack pulls together Bleachers, Troye Sivan, Amy Shark, Khalid & Normani, Brenton Wood, The 1975, Whitney Houston, Jackson 5 and more. The official album runs just under 50 minutes across 13 songs: Bleachers book-end it (“Alfie’s Song (Not So Typical Love Song)”, “Keeping a Secret”, “Wild Heart”), with centrepieces like “Love Lies” and “Strawberries & Cigarettes” doing the emotional lifting. A separate Love, Simon (Original Motion Picture Score) album by Rob Simonsen was released the same day, focusing on 19 short cues.

The film itself uses a wider pool of 20-plus tracks: older cuts like Brenton Wood’s “The Oogum Boogum Song” and The Kinks’ “Waterloo Sunset”, modern pop and R&B like Meghan Trainor’s “No” and Portugal. The Man’s “Feel It Still”, plus a run of Simonsen cues (“Simon and Blue”, “You Get to Breathe Now”, “Aftermath”) that never made the pop compilation. A song-by-song breakdown site logs 29 in-film songs with scene descriptions, and another catalogue stretches that to 60-plus if you include trailers and deleted scenes.

Stylistically, the music mirrors Simon’s journey. Indie and alt-pop (Bleachers, Troye Sivan, HAERTS) handle his interior life and the softer, queer-romantic beats. Classic R&B and pop (Brenton Wood, Whitney Houston, Jackson 5) handle fantasy, nostalgia and family, giving his story a link back to older generations. Hip-hop, electro and party tracks (“Feel It Still”, “Out the Speakers”, “Add It Up”) score the chaos: Halloween parties, beer-pong bonding, terrible karaoke. Threaded through are Simonsen’s score pieces, which push key scenes into something more vulnerable than the average teen-movie needle-drop.

How It Was Made

Love, Simon is directed by Greg Berlanti from a screenplay by Elizabeth Berger and Isaac Aptaker, based on Becky Albertalli’s novel Simon vs. the Homo Sapiens Agenda. Composer Rob Simonsen handles the original score, bringing the same intimate, piano-driven style he used on films like The Spectacular Now and Nerve. His work here leans on short, modular cues — themes for Simon’s family, his emails with Blue, and the ferris-wheel climax — designed to sit between pop songs instead of fighting them.

Music supervisor Season Kent had already built a reputation on films like The Fault in Our Stars and Paper Towns, and she takes a similar approach here: mix current indie-leaning acts with a few canon-level hits so the soundtrack feels both contemporary and timeless. Credits and industry write-ups also note that Antonoff didn’t just contribute Bleachers songs; he helped shape the overall palette and co-wrote Troye Sivan’s “Strawberries & Cigarettes”.

A widely cited production note explains just how central the songs were to Berlanti. He wrapped principal photography in Atlanta two days early to free budget for licensing the more expensive tracks. French-language coverage of the film spells this out bluntly: for Berlanti, a movie like this needed a soundtrack that teenagers would actually replay afterwards, so shooting stopped early to help pay for “Waterloo Sunset”, Whitney Houston, and the rest.

The albums follow that logic. RCA and Sony released Love, Simon (Original Motion Picture Soundtrack) on 16 March 2018 to coincide with the U.S. theatrical release; Lakeshore Records released Simonsen’s score the same day. Vinyl followed later (including a 2xLP edition), and the soundtrack went on to hit the top 40 of the Billboard 200, the top 3 on Billboard’s Top Soundtracks, and charted in Canada and Australia as well.

Tracks & Scenes

This is not a full tracklist. It focuses on standout songs and cues, and how they link to specific scenes and emotional beats in the film.

"The Oogum Boogum Song" — Brenton Wood
Where it plays: Right at the top. Over the opening montage, Simon narrates how normal his life is — coffee runs, family breakfasts, drives through the suburbs — while this 1960s soul track rolls underneath. It’s fully non-diegetic, layered over slow push-ins on his bedroom and quick cuts of his parents and friends.
Why it matters: The warm, slightly goofy groove undercuts his “I’m just like you” monologue in a good way. It implies there’s more personality, more history, more weird in this suburb than Simon will admit, and it immediately sets the film apart from a generic temp-score opening.

"Rollercoaster" — Bleachers
Where it plays: Simon drives his usual morning route, picking up Leah, Nick and Abby on the way to Creekwood High. The song blasts from the car stereo; windows down, suburban streets sliding by, friends shouting through partially open doors. The mix keeps it mostly diegetic, but it swells into the main-title feel as they pull into the school lot.
Why it matters: It locks the movie into Antonoff’s sonic universe from the start: big drums, shout-along chorus, and a rush of nostalgia. The lyrics about “it was love” echo the story’s structure — we’re watching an already-happening love story that Simon hasn’t quite recognised yet.

"Love Me" — The 1975
Where it plays: Immediately after “Rollercoaster”, as the group heads into school. Hallways fill up, lockers slam, and Simon moves through a sea of students while the song’s elastic guitar line and swaggering vocal follow him down the corridor.
Why it matters: It adds a hint of pose and performance to Simon’s “normal teen” façade. He blends in — but the music choice (flashy, self-aware, slightly queer in its glam-pop energy) hints that Johnny-Average-Suburbia is not the whole story.

"Waterloo Sunset" — The Kinks
Where it plays: Alone in his room after school, Simon decides whether to answer an anonymous post from “Blue” on the school gossip Tumblr. The Kinks play from his record player as he stares out of his window; the camera frames him in silhouette against the street. He listens to the lyrics, opens his laptop, and creates the “frommywindow1” Gmail address.
Why it matters: The song is about looking out at a city and feeling alone but comforted. It’s an almost too perfect mirror for a closeted kid staring out at suburbia, but it works. One essay about the film’s use of the track flat-out says that this choice made the writer feel “seen” as a queer Kinks fan.

"Love Lies" — Khalid & Normani
Where it plays: On Halloween night, in the kitchen before Bram’s party. Simon and Leah talk while getting ready, trading small talk that’s obviously covering bigger feelings. The slow-burn R&B track seeps in under their conversation, more atmosphere than sing-along.
Why it matters: The song was commissioned for the film and went on to become a huge hit in its own right. Here it underlines the story’s central question: are the feelings in these rooms real or just helpful lies to stay safe?

"Feel It Still" — Portugal. The Man
Where it plays: The gang arrives at Bram’s Halloween party. Costumes, coloured lights and solo cups fill the frame as the bassline kicks in; the song continues into wider shots of the living room and kitchen as side characters collide and pair off.
Why it matters: It’s a textbook 2010s party needle-drop: instantly recognisable, relentlessly catchy, and just detached enough to feel like Simon is observing the madness from slightly outside himself. It’s the sonic equivalent of that half-a-beat delay in his reactions.

"Never Fall In Love" — Jack Antonoff & MØ
Where it plays: On the same night, as Abby and Leah dance together at the party. Nick leans in to tell Simon he wants to ask Abby out, while the girls laugh and lose themselves in the music. The camera cuts between them, with the song rising around their conversation.
Why it matters: The title is not subtle, but in context it lands. Simon watches someone else risk the thing he’s too scared to reach for, and the song’s mix of euphoria and defensiveness fits that knot in his chest.

"Out the Speakers (feat. Rich Kidz)" — A-Trak, Milo & Otis & Rich Kidz
Where it plays: Bram invites Simon to play beer pong. The track’s chopped-up vocal and big drops ramp up the background energy as Simon pulls Abby and Martin into the game. Cups, spilled beer and yelling crowd the frame.
Why it matters: It marks the moment when Simon is pulled directly into Bram’s orbit, the night he decides that his mysterious Blue might be standing right in front of him.

"As Long As You Love Me (feat. Big Sean)" — Justin Bieber
Where it plays: After the beer-pong game, Bram and Simon stagger onto the karaoke stage. The Bieber track plays as karaoke source music, with the boys yelling through the chorus and the crowd cheering. The camera lingers on Simon’s face as he watches Bram sing.
Why it matters: On paper it’s just a pop hit, but in the scene it turns into a clumsy little duet-bonding moment. Film-music write-ups often single this out as the point where Simon’s crush stops being abstract.

"Add It Up" — Violent Femmes
Where it plays: Still at the party, later into the night. Drunk and spiralling, Simon grabs the mic alone and screams his way through “Add It Up” while the room oscillates between amusement and discomfort. The camera cuts to Bram looking uneasy, Leah worried, and Martin delighted for all the wrong reasons.
Why it matters: It’s messy, raw and utterly teenage. The song’s pent-up frustration mirrors years of secrets exploding in a single terrible karaoke performance.

"Monster Mash" — Bobby “Boris” Pickett & The Crypt-Kickers
Where it plays: In the bathroom after Simon’s solo, as he tries to psych himself up to come out to Bram. The novelty Halloween track muffles through the door from the party as he rehearses what he’s going to say, then follows him down the hallway to the bedroom — where he opens the door and finds Bram making out with a girl.
Why it matters: The goofy song contrasts brutally with the moment Simon’s fantasy cracks. It emphasises how off-balance he is: the soundtrack is still playing “fun spooky night” while his heart drops out of frame.

"Sink In" — Amy Shark (album) / Julia Michaels (film)
Where it plays: Back in Simon’s bedroom after the party. Leah dozes in his bed, he sits on the floor, and they talk quietly about expectations and disappointment. The film uses Julia Michaels’ version; the soundtrack album swaps in Amy Shark’s take, but the scene structure is the same.
Why it matters: It’s one of the first real “after” scenes, where the party is over and consequences are settling in. The change between film and album versions has become a small point of obsession for fans comparing the two.

"Coming out Straight" — Rob Simonsen
Where it plays: After Leah falls asleep, Simon sits at his laptop and drafts a new email to Blue, asking, “Why is straight the default?” The cue is quiet and pulsing, mostly piano and soft pads, as the camera sits on his face and the words on screen.
Why it matters: It’s one of the score’s signature moments: no lyrics, no winking needle-drop, just a simple, questioning theme matching the first time Simon really articulates what’s bothering him.

"I Wanna Dance with Somebody (Who Loves Me)" — Whitney Houston
Where it plays: During Simon’s fantasy about college, when he imagines a world where being out means he can leap on cars, dance in neon-bright outfits with a troupe of boys, and sing along without flinching. The track kicks in full blast as the number turns into a mini-musical set-piece in the street outside his imagined dorm.
Why it matters: It’s a flash of pure queer joy in a film that otherwise sticks close to grounded realism. Interviews with Berlanti and cast talk about how carefully they staged this sequence so it felt like a dream Simon might actually have, not just a parody of a Pride parade.

"Someday at Christmas" — Jackson 5
Where it plays: At the family dinner table over Christmas. The Spiers eat, bicker gently, and Simon emails Blue from a trip, recommending this song as something to listen to while he’s away. The track loops softly under both the domestic scene and Simon’s narration.
Why it matters: It links Simon’s emotional life back to an earlier generation’s protest-tinged optimism, without calling attention to it. It’s also one of the clearest moments where we see his family’s warmth as something he’s genuinely afraid to lose.

"Strawberries & Cigarettes" — Troye Sivan
Where it plays: After the Waffle House confrontation. Simon and Abby drive home at night, lights streaking across the windshield. She admits she isn’t sure she believes in love; he hesitates, then tells her he’s gay. The song unfolds over the conversation and into the next email exchange with Blue, who reveals he has just come out to his father as well.
Why it matters: The track was written for the film and has become one of Sivan’s most beloved non-album songs. It’s wistful and specific enough that it feels like a memory Simon is narrating back to us in musical form.

"Shine a Light" — BANNERS
Where it plays: During the anniversary video Simon cuts for his parents. Home-movie clips of their relationship play on the TV while the family watches from the couch. The song swells into the moment when Simon’s father gets teary and jokes about how sappy it is.
Why it matters: It’s the straight-marriage love story that Simon grew up with, scored by a radio-friendly anthem. Later scenes will contrast this with how much more deliberate and hard-won Simon’s own open love story has to be.

"Wings" — HAERTS
Where it plays: As Simon and his friends arrive at the Winter Carnival. The ferris wheel lights up against the night sky, the crowd swirls, and the song’s slow-build arcs over the entire sequence as they look for their places in the crowd.
Why it matters: It’s the last big “anticipation” cue before everything resolves. The title alone — “Wings” — telegraphs that we’re heading for takeoff.

"You Know Where to Find Me" / "Aftermath" — Rob Simonsen
Where it plays: “You Know Where to Find Me” begins when Simon takes his seat on the ferris wheel, having posted his public confession to the school. The ride creaks, the camera circles, and the music holds its breath as students gather below. “Aftermath” then scores the reveal of Blue’s identity and the kiss, staying with them as the wheel turns above cheering classmates.
Why it matters: The film deliberately drops the pop songs here and lets the score handle the climax. After an entire movie of other people’s lyrics, Simon finally gets an instrumental theme that belongs solely to him and Blue.

"Wild Heart" — Bleachers
Where it plays: In the final scene, as Simon drives his friends toward Atlanta for “the next adventure”. Morning sun through the windshield, easy chatter in the car, city skyline in the distance — the track plays non-diegetically as a send-off.
Why it matters: It closes the film with motion and openness instead of a neatly tied bow. The fact that this is also used in trailer marketing gives it a sense of “we’ve caught up to the promise you were sold at the start.”

"Alfie’s Song (Not So Typical Love Song)" — Bleachers
Where it plays: Featured heavily in the promotional campaign and over the end credits. The song appears in full as the credits roll, and edited snippets open at least one trailer, playing over quick cuts of Simon’s daily life and the ferris-wheel setup.
Why it matters: It was the first single released from the soundtrack and effectively the musical logo for the film. The “not so typical love song” subtitle is a quiet mission statement for a studio teen romance centred on a gay boy.

Trailer-only songs — "Surrender", "Low" and others
Where they play: Walk the Moon’s “Surrender” and JR JR’s “Low” appear in marketing materials and trailer playlists rather than the feature itself, punching up the cuts with big choruses and hooky refrains. They play over montages of Simon’s friends, Halloween costumes and ferris-wheel shots but never enter the film’s diegesis.
Why they matter: They shaped how audiences first heard the film. For some fans, these cues are as tied to Love, Simon as anything in the official tracklist, even though they only ever existed in trailers and YouTube edits.

Notes & Trivia

• The official soundtrack album runs about 47 minutes across 13 tracks and is credited to Various Artists; Simonsen’s separate score album runs roughly 38 minutes across 19 cues.
• “Love Lies” was released as a single on 14 February 2018 and became a top-10 hit on the Billboard Hot 100, outliving the film on radio by a wide margin.
• “Strawberries & Cigarettes” earned a Satellite Award nomination for Original Song — one of several awards-circuit mentions the soundtrack received.
• Music supervisor Season Kent was nominated at the Guild of Music Supervisors Awards for her work on the film.
• The soundtrack album hit #37 on the Billboard 200, #3 on Top Soundtracks, and also charted in Canada and Australia.
• A detailed fan-facing database counts 29 distinct songs in the finished film, while a broader catalogue that includes trailers and deleted scenes clocks 60-plus musical entries.

Music–Story Links

The music in Love, Simon is structured almost like Simon’s email thread with Blue: it starts tentative, grows playful, and then gets painfully honest. Early on, Bleachers and The 1975 score the version of Simon that everyone else sees — competent student, good friend, slightly detached. “Rollercoaster” and “Love Me” are the soundtrack to his closet.

Once Blue enters the picture, the song choices tighten around specific emotional questions. “Waterloo Sunset”, “Simon and Blue” and “Coming out Straight” all sit on the same axis: how do you say you’re lonely without sounding pathetic, and how do you say you’re gay without losing everything? Those tracks tend to play in bedrooms, cars at night and computer-screen close-ups, away from crowds.

The Halloween party run is where the film lets its inner teen-movie loose: “Feel It Still”, “Never Fall In Love”, “Out the Speakers”, “As Long As You Love Me”, “Add It Up”, “Monster Mash”. Each song marks a micro-turn — first crush hope, then bonding, then embarrassment, then heartbreak. Watching that sequence with the cue list in hand, you can track Simon’s emotional temperature almost solely through the music.

Later, the Whitney Houston fantasy and Jackson 5 Christmas scene show how soundtrack and story step outside literal realism to tell you what Simon wants: a version of himself that can dance like a maniac in public and a version of his family that stays loving no matter what he says. When the score takes over at the ferris wheel, it feels like the film finally trusts him to stand without leaning on old hits.

Reception & Quotes

Love, Simon was widely praised on release for being both a “John Hughes-style” teen movie and a landmark in mainstream queer representation. Review aggregators place it in the “generally favorable” range, with a Rotten Tomatoes approval rating in the high 80s and a Metacritic score around 72. CinemaScore audiences gave it an A+, a rare grade shared by fewer than a hundred films in the service’s history.

Critics often singled out the soundtrack as part of why the film works — the songs feel like music the characters would actually have on their phones, rather than generic library cues. A number of articles and blogs also treat the album as a stand-alone queer-adjacent pop compilation, not just a souvenir.

“Love, Simon hits its coming-of-age beats more deftly than many entries in this well-traveled genre – and represents an overdue milestone of inclusion.”

— Review summary on a major aggregator

One Guardian review called it “a hugely charming crowd-pleaser,” noting that the carefully chosen pop soundtrack helps keep the tone buoyant without trivialising Simon’s struggle.

— UK newspaper review (paraphrased)

A teen-lit site introduced its track-by-track rundown with: “You need to listen to the Love, Simon soundtrack immediately,” then walked through each album song for readers coming from the book.

— YA-focused soundtrack article

An essay on the film’s music describes it as “deep cuts to surprise global hits”, pointing out how Brenton Wood, The Kinks and Troye Sivan can coexist in a single story.

— Music feature (paraphrased)

Interesting Facts

• The soundtrack album was curated by Jack Antonoff, whose band Bleachers also supply four tracks — unusually high representation for a single act on a various-artists compilation.
• Season Kent had already supervised The Fault in Our Stars, Paper Towns and Suicide Squad before Love, Simon, making her one of the go-to supervisors for YA-leaning projects.
• “Love Lies” marked Normani’s first major single outside Fifth Harmony and went on to spend over half a year on the Billboard Hot 100.
• Rob Simonsen’s score album is distributed by Lakeshore Records and includes cues like “Simon and Blue”, “Abbey Deserves a Superhero”, “You Get to Breathe Now” and “Aftermath”.
• The soundtrack’s vinyl edition includes the same core 13 tracks as the digital release, spread across two LPs for sound quality rather than extra songs.
• A Hollywood music-industry award short-listed Love, Simon in a Best Music Supervision category alongside bigger-budget superhero and musical films.
• Because the film became a queer comfort watch on streaming platforms, the album sees a noticeable spike in plays every Pride Month and every school year’s graduation season.
• Several pieces of Simonsen’s score used in the film — including one under a confrontation between Simon and his friends — never appeared on the official score release, leading to fan hunts for “missing tracks”.

Technical Info

• Main title: Love, Simon
• Year: 2018 (U.S. release 16 March 2018)
• Type: American teen romantic comedy-drama film; original soundtrack and separate score album
• Director: Greg Berlanti
• Based on: Simon vs. the Homo Sapiens Agenda by Becky Albertalli (2015)
• Composer (score): Rob Simonsen
• Music supervisor: Season Kent
• Soundtrack album: Love, Simon (Original Motion Picture Soundtrack) — Various Artists
• Score album: Love, Simon (Original Motion Picture Score) — Rob Simonsen
• Soundtrack labels: RCA Records / Sony Music Entertainment (song compilation); Lakeshore Records (score)
• Album release date: 16 March 2018 (digital, CD, streaming; later vinyl)
• Key original songs: “Alfie’s Song (Not So Typical Love Song)” — Bleachers; “Love Lies” — Khalid & Normani; “Strawberries & Cigarettes” — Troye Sivan
• Selected notable placements: “The Oogum Boogum Song”, “Rollercoaster”, “Waterloo Sunset”, “Love Lies”, “As Long As You Love Me”, “I Wanna Dance with Somebody (Who Loves Me)”, “Strawberries & Cigarettes”, “Wings”, “Wild Heart”
• Runtime (film): approx. 110 minutes
• Budget: estimated $10–17 million
• Box office: about $66.7 million worldwide
• Billboard performance (soundtrack): #37 on Billboard 200; #3 on Top Soundtracks; #24 on Canadian Albums; #82 on ARIA Albums
• Key awards (music-related): Teen Choice Award win for “Love Lies”; multiple nominations for “Strawberries & Cigarettes” and the soundtrack’s supervision at industry awards.

Canonical Entities & Relations

Subject	Relation	Object
Love, Simon (film)	is directed by	Greg Berlanti
Love, Simon (film)	is based on	Simon vs. the Homo Sapiens Agenda by Becky Albertalli
Love, Simon (film)	has music by	Rob Simonsen
Love, Simon (Original Motion Picture Soundtrack)	is a soundtrack to	Love, Simon (film)
Love, Simon (Original Motion Picture Soundtrack)	is curated by	Jack Antonoff
Love, Simon (Original Motion Picture Soundtrack)	is supervised by	Season Kent
RCA Records / Sony Music	release	Love, Simon (Original Motion Picture Soundtrack)
Lakeshore Records	releases	Love, Simon (Original Motion Picture Score)
Bleachers	perform	“Alfie’s Song (Not So Typical Love Song)”, “Rollercoaster”, “Keeping a Secret”, “Wild Heart” on the soundtrack
Khalid & Normani	perform	“Love Lies” for the film and soundtrack
Troye Sivan	performs	“Strawberries & Cigarettes” on the soundtrack
Amy Shark	performs	“Sink In” on the album version of the bedroom scene track
Whitney Houston	performs	“I Wanna Dance with Somebody (Who Loves Me)” used in Simon’s fantasy sequence
Brenton Wood	performs	“The Oogum Boogum Song” in the film’s opening
The Kinks	perform	“Waterloo Sunset” in Simon’s first email scene
Fox 2000 Pictures / Temple Hill Productions	produce	Love, Simon (film)
20th Century Fox	distributes	Love, Simon theatrically

Questions & Answers

How many different Love, Simon albums are there?

There are two official releases: the various-artists Love, Simon (Original Motion Picture Soundtrack) on RCA/Sony, and Rob Simonsen’s Love, Simon (Original Motion Picture Score) on Lakeshore Records. Both came out on 16 March 2018.

Which song plays during Simon and Bram’s karaoke duet?

They sing Justin Bieber’s “As Long As You Love Me” (the version featuring Big Sean) at Bram’s Halloween party, after playing beer pong together.

What song plays over Simon’s ferris-wheel kiss?

The climax is scored primarily by Rob Simonsen’s cues “You Know Where to Find Me” and “Aftermath” rather than a pop song. The next big commercial track is Bleachers’ “Wild Heart” over the closing drive.

What’s the Whitney Houston song in Love, Simon?

It’s “I Wanna Dance with Somebody (Who Loves Me)”, used in Simon’s fantasy of a flamboyant, out-and-proud college musical number in the street.

Is every song from the film on the official soundtrack?

No. The soundtrack album has 13 songs, including key originals like “Love Lies” and “Strawberries & Cigarettes”, but some placements — for example “Waterloo Sunset”, “Feel It Still”, “No” and “Monster Mash” — are film-only. Trailer songs like “Surrender” and “Low” are also missing.

Sources: film credits and production notes; English and French Wikipedia entries for the film and soundtrack; Apple Music and Spotify metadata for both albums; Discogs and retail listings for physical editions; soundtrackradar and MoviesOST song-by-song scene guides; IMDB full credits and soundtrack pages; Epic Reads’ Love, Simon soundtrack breakdown; chart data and award listings from Billboard-linked summaries and soundtrack articles; interviews and essays on the film’s use of Whitney Houston, The Kinks and the curated indie-pop palette.

‘Did you date me because I looked like a guy?’ Asks the girl. ‘No, I actually broke up with you because you didn’t look like a guy.’ Answers the boy. The boy, who is the main protagonist of the film. And he is gay. A seemingly normal adolescent who studies in a school who discovered that he is gay. The fun story that evolves in the normal society, where kids have a lot of friends, who hang out at parties, who is too right sometimes. And who dream big. But most of all, they too scared of being not like the other people around. At least several of them (including the protagonist) are too afraid to tell to the other people he is not like the others. So when he meets someone like him on the Internet in his very same school, he becomes really excited about it. They chat a lot. Until he discovers that this other guy framed him in front of all school, stealing ‘his thing’, a coming-out. Fun, heart-touching, and a little clumsy, full of exciting moments that everyone will recognize him or herself in. Full of heart-open talks & unusual discoveries, pretty girls & magically handsome guys. The soundtrack to this is unexplainably different: full of songs from the old days, which completely do not suit to its mood: glam rock of ‘Love Me’ goes contrary to Xmas song of The Jackson ‘Someday at Christmas’ & they both contradict to ‘The Oogum Boogum Song’, which is absolutely not clear how got into the collection. However, the film’s events are in-line with lyrics of several other songs: ‘Alfie's Song (Not So Typical Love Song)’ and Whitney Houston’s ‘I Wanna Dance with Somebody’. In addition, ‘Wings’ song’s lyric is rather underscoring all the narrative line of a movie: a normal family consisting of ordinary people that are engaged in a usual daily routine with chores on their minds… Once, this picture is crashed by the extraordinary event that everyone must handle now. A must-see film.

November, 13th 2025

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