"Starving Games, The" Soundtrack Lyrics

"The Starving Games (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

How do you parody a mega-franchise without its symphonic thunder? You lean into punchy library bangers, quick-hit cues, and a straight-faced original score. The Starving Games (2013) stitches a brisk, 15-track compilation of needle-drops to Timothy Michael Wynn’s action-comedy score, playing everything with a wink — grimey club loops for “danger,” jock-jam stings for fake sportscasts, and Latin party cuts for hard left turns.

The album is a grab bag that fits the film’s sketch-riff structure: DeeTown/Format-verse production cues (“Dangerous,” “Rundown,” “Smash”), electro-pump from The DeeKompressors, novelty titles like “Stuffed Derma,” plus a breezy bolero-cumbia (“Mi Tierra”) for comedic contrast. Wynn’s score theme (“Starving Games”) gives the spoof an unexpectedly earnest spine amid prop gags and propulsive chases.

Genres & phases: trailer-friendly electro/hip-hop hybrids — swagger sendups; arena-tension score — parody played straight; broadcast bumpers — cutaway jokes; Latin and lounge detours — tonal whiplash on purpose.

How It Was Made

Directed by Jason Friedberg & Aaron Seltzer and released by Ketchup Entertainment in November 2013, the film features a pop-up-book of cues sourced from production libraries and indie labels. Composer Timothy Michael Wynn (credited as Tim Wynn) handled the original score; the commercial album arrived the same week as release under the Format Entertainment banner, collecting 15 tracks from the film’s source side plus Wynn’s theme cues.

Tracks & Scenes

“Dangerous” (Chanel Leon)

Where it plays:

Used over swaggering montage beats and character struts — the track’s clipped drums and chant-like hook frame Kantmiss’s “hero” shots before the joke undercuts them.

Why it matters:

Sets the house style for song cues: big attitude, quick exit, punchline-ready.

“Got It Like That” (Revenge Of The Nerds)

Where it plays:

Party/locker-room energy bursts — brief on-screen needle-drop with brag-rap cadence used to tee up a pratfall or cutaway.

Why it matters:

Parodies aspirational hype tracks by playing them under anything but cool behavior.

“Stuffed Derma” (Deebergstein / Debergstein)

Where it plays:

Comedic cut-ins around marketplace and prep bits — klezmer-inflected pop that swerves the mood right before a sight gag lands.

Why it matters:

One-joke title, but the cue is a tonal banana peel — deliberately goofy instrumentation for contrast.

“Mi Tierra” (Los Cinco Clavos)

Where it plays:

Food-stall, plaza, or prize-parade gags — sunny guitar, hand percussion, and accordion provide a sudden postcard vibe between arena antics.

Why it matters:

Comedy via dissonance: warm, festive music under dystopian silliness.

“Rock the House” & “Dirtstep” (The DeeKompressors)

Where it plays:

Training/arena action inserts — distorted synth bass and halftime stomps riding quick, sub-one-minute edits as weapons fly and fruit gets ninja’d.

Why it matters:

Library bangers doing blockbuster cosplay — cheap-and-cheerful adrenaline.

“Go” (LeeTown)

Where it plays:

Chase/interstitial montage — a motorik beat that glues together jokes across locations (district alleys → arena cutaways).

Why it matters:

Functional glue: pace over polish.

“Bodega Street Corner” (El Berhknokies)

Where it plays:

Urban cutaways and vendor gags — scratched-up beats and brass stabs for quick establishing shots.

Why it matters:

Gives the spoof its “street” palette without leaving the backlot.

“Sports Dude” / “Sports Central” / “Sports Bump” (J. Paul; Distortion Orphans; Jim Roach)

Where it plays:

Mock TV inserts and recap moments — arena-as-sportscast. Think splashy bumpers, commentator wipes, and sting-outs to commercial.

Why it matters:

They parody broadcast grammar — the sound of fake legitimacy.

“I Know You Want It” (The Bonars) & “Just Me and Up” (Joey Jackson & The Spinettes)

Where it plays:

Background diegetic cues in party/tent scenes — flirt-pop and throwback vocal group textures while the camera hunts the next gag.

Why it matters:

Lightweight sugar between heavier slapstick.

Score: “Starving Games” & “Lullaby” (Tim Wynn)

Where it plays:

Main theme variants over titles and “serious” arena beats; “Lullaby” turns up when the movie pretends to be tender for thirty seconds.

Why it matters:

Wynn’s cues sell straight-faced stakes so the jokes have something to puncture.

Notes & Trivia

• The commercial album collects 15 tracks / ~34 minutes; it’s mostly source cues plus a few score cuts.
• Composer credit on the film: Timothy Michael Wynn (a.k.a. Tim Wynn).
• Many song cues hail from the DeeTown/Format ecosystem — a common pipeline for mid-2000s/2010s comedy source music.
• Distribution: released theatrically and on VOD in early November 2013; the soundtrack went live the same week.
• The trailer leans on the film’s punchy EDM/hip-hop textures — no famous pop hits, by design.

Music–Story Links

Whenever Kantmiss is framed as a capital-H Hero, a tough electro cue (e.g., “Dangerous,” “Rock the House”) swaggers in — and the movie immediately undercuts it with a pratfall or CGI projectile. Broadcast stings (“Sports Dude,” “Sports Central,” “Sports Bump”) reframe the Games as TV sport, turning carnage into cable packaging. When the plot feints at romance or pathos, Wynn’s “Lullaby”/theme briefly supplies sincerity — just long enough to make the next gag land harder.

Reception & Quotes

Reviews were rough on the film, but even detractors noted the soundtrack’s relentless, television-savvy energy — cues that “sound like the channel you’d flip past, which is kind of the joke.” Fans of production-music anthems will recognize the DNA immediately.

“Really, a movie as lame as this one doesn’t merit the expenditure of snark.” Variety (Joe Leydon)

“Has the look and feel of a talent show….” RogerEbert.com (Peter Sobczynski)

Interesting Facts

• Label line: the Apple Music listing tags the compilation as ℗ 2013 Format Entertainment.
• Composer billing: credits list “Music by Timothy Michael Wynn” — the same Tim Wynn known for games/TV (e.g., Red Faction: Guerrilla).
• Trailer ID: the widely circulated Movieclips trailer (ID below) is the one most albums/platforms link to.
• Source-first album: unlike big franchise spoofs, this OST puts the production cues up front and tucks the score into a couple of tracks.
• Running gag: several cue titles (“Sports Dude,” “Stuffed Derma”) read like punchlines themselves — truth in advertising.

Technical Info

• Title: The Starving Games — Original Motion Picture Soundtrack
• Year: 2013 (album issued week of November 4–8, 2013)
• Type: Compilation (songs) + select score cues
• Composer: Timothy Michael Wynn (Tim Wynn)
• Label: Format Entertainment (digital release)
• Key source tracks: “Dangerous” (Chanel Leon); “Got It Like That” (Revenge Of The Nerds); “Stuffed Derma” (Dee/Deebergstein); “Mi Tierra” (Los Cinco Clavos); “Rock the House,” “Dirtstep” (The DeeKompressors); “Go” (LeeTown); “Bodega Street Corner” (El Berhknokies); “Sports Dude” (J. Paul); “Sports Central” (Distortion Orphans); “Sports Bump” (Jim Roach); “I Know You Want It” (The Bonars); “Just Me and Up” (Joey Jackson & The Spinettes).

Questions & Answers

Who composed the original score?

Timothy Michael Wynn (credited as Tim Wynn) — his theme and tender cue (“Lullaby”) appear on the album.

How many tracks are on the official soundtrack?

15 tracks; ~34 minutes. It’s mostly source songs with a few score pieces.

Is there a physical CD?

Listings and streaming releases center on digital; the widely available release is the digital album.

What label is the OST under?

Apple Music lists ℗ 2013 Format Entertainment for the compilation.

Where can I hear it?

On major platforms (Apple Music, Spotify, Amazon Music) under “The Starving Games (Original Motion Picture Soundtrack).”

Key Contributors

Sources: official trailer; Apple Music listing (label/date); Spotify album; Amazon Music listing; film credits & trade coverage for composer; soundtrack databases (RingoStrack/Soundtrakd) for song/artist confirmations.

November, 27th 2025