"Thunder Force" Soundtrack Lyrics

“Thunder Force — Music From the Netflix Film (Score & Songs)” – Album Guide to Tracks and Key Scenes

Review

What happens when a buddy-superhero comedy lets the iPod do the talking? Thunder Force answers with two intertwined engines: Fil Eisler’s riff-forward score — supercharged by thrash legends — and a jukebox of ‘70s–‘90s radio staples that double as punchlines. The music frames Lydia (Melissa McCarthy) and Emily (Octavia Spencer) as overgrown kids who never lost their AM/FM hearts, then crossfades to stomp-and-shred whenever fists fly.

Eisler’s cues mix swaggering low brass and strings with live drums and detuned guitars; the result is “orchestra vs. garage” in the best way. Around it, needle-drops do character work: Glenn Frey turns a villain into a soft-focus crush; Seal’s “Kiss from a Rose” becomes an in-joke baked into a super-suit; AC/DC and Whitesnake sell the underdog montage with a wink. It’s less a solemn comic-book score than a party with riffs — and the movie is happier for it.

Genres & themes in phases — heavy-metal-inflected score: bravado and brawls; classic-rock & power ballads: nostalgia and friendship; adult-contemporary sax-pop: irony, romance, and running gags; orchestral uplift: team-bonding payoffs.

How It Was Made

Composer: Fil Eisler built the score like a tag-team — orchestral backbone fused with live rhythm section and guitar. He brought in metal heavyweights Scott Ian (guitars) and Dave Lombardo (drums) for signature bite, with electric cello by Tina Guo on featured cues.

Album: The official release, Thunder Force (Music From the Netflix Film), collects 33 cues (digital) and the title song. Milan Records/Sony handled distribution; listings note ℗ Maisie Music Publishing with an exclusive Sony license. A separate editorial playlist gathers the prominent needle-drops used in-picture.

Tracks & Scenes

“Can’t You See” (The Marshall Tucker Band)

Where it plays:

~00:01 — Grade-school prologue. Young Lydia and Emily in class; the film plants its classic-rock DNA right away. Non-diegetic.

Why it matters:

Signals the movie’s nostalgia lens — they’ll save Chicago with playlists as much as punches.

“Dreams” (The Cranberries)

Where it plays:

~00:04 — Friendship montage: swings, canteen banter, bracelets; later, dinner at Emily’s. Non-diegetic.

Why it matters:

Shorthand for lifelong bond — airy 90s shimmer for two kids plotting futures.

“It’s a Long Way to the Top (If You Wanna Rock ’n’ Roll)” (AC/DC)

Where it plays:

~00:07 — Title card bang: adult Lydia forklifts at the port, still stubbornly herself. Non-diegetic.

Why it matters:

Blue-collar anthem = Lydia’s energy; bagpipe riff meets superhero origin.

“Here I Go Again” (Whitesnake)

Where it plays:

~00:14 — Lydia waits for Emily at a bar, half pep-talk, half punchline. Non-diegetic.

Why it matters:

Power-ballad self-mockery — she’s about to “go it alone”… until the team forms.

“Smuggler’s Blues” (Glenn Frey)

Where it plays:

~00:46 — Car stereo sing-along. Lydia and Emily roast the song and belt the chorus anyway. Diegetic (radio).

Why it matters:

Miami Vice sax as friendship glue — the gag that keeps paying off.

“Lydia Goes Apes***t” (Fil Eisler feat. Scott Ian & Dave Lombardo)

Where it plays:

~00:48 — Grocery-store brawl. Riffs, double-kick, crash zooms; aisles turn into a mosh pit. Non-diegetic score.

Why it matters:

The score’s mission statement: orchestral hits plus thrash adrenaline.

“You Belong to the City” (Glenn Frey)

Where it plays:

~00:50 — Lydia and The Crab (Jason Bateman) slow-dance amid toppled cereal. Later reprises near the end (~01:38) as he feeds her chicken. Source-leaning in-store, then non-diegetic reprise.

Why it matters:

Soft-sax irony becomes genuine chemistry — the silliest scene turns sweet.

“The Diner Attack” (Fil Eisler feat. Scott Ian & Dave Lombardo)

Where it plays:

~01:08 — First showdown with Laser (Pom Klementieff). Counterpoint between grindy guitars and sudden orchestral stabs. Non-diegetic score.

Why it matters:

Villain motif as texture: rhythm first, melody later.

“Voyage to Atlantis” (The Isley Brothers)

Where it plays:

~01:18 — Date-night debrief: Lydia, The Crab, and an awkwardly held claw-hand at a restaurant. Non-diegetic.

Why it matters:

Silky slow jam that treats a crustacean mutation like a rom-com meet-cute.

“Kiss from a Rose” (Seal)

Where it plays:

~01:23 — Emily hard-codes the song into her suit; the duo sing along right before a door explodes and Laser attacks. Starts diegetic (in-suit), bleeds into scene.

Why it matters:

Peak meme: the power ballad as tactical hype-track.

“Dumpster Fight” (Fil Eisler feat. Scott Ian & Dave Lombardo)

Where it plays:

~01:24 — Alley beatdown continuation; metal ramp-up as Laser corners the duo. Non-diegetic score.

Why it matters:

Per-track escalation — Lombardo’s drums as comedy timing tool.

“Thunder Force” (Corey Taylor, Lzzy Hale, Scott Ian, Dave Lombardo, Fil Eisler & Tina Guo)

Where it plays:

~01:39 → credits — Title song blasts over the curtain call.

Why it matters:

All-star metal single that turns the duo’s name into an arena chant; the soundtrack’s calling card.

Notes & Trivia

• The end-credit single “Thunder Force” features Corey Taylor and Lzzy Hale on vocals, with Scott Ian (guitars), Dave Lombardo (drums), and Tina Guo (electric cello).
• The album bundles 33 tracks of Eisler’s score plus the single; select needle-drops (AC/DC, Whitesnake, Glenn Frey) appear on editorial/official playlists rather than the score album.
• Two Glenn Frey cuts (“Smuggler’s Blues,” “You Belong to the City”) are used diegetically as recurring jokes — and end up scoring a romance subplot.
• Metal session players are credited across multiple cues (“Training Begins,” “Super Suits,” “The Diner Attack”), giving the action material a live, percussive edge.

Reception & Quotes

Critics were mixed on the film, but several singled out the soundtrack’s gag-value and the muscular score/metal crossover. Music press spotlighted the “supergroup” behind the title track.

“The soundtrack is basically a playlist for superheroes — and the jokes.” Soundtrack coverage

“Lydia and The Crab do a surreal, sexytime dance to ‘You Belong to the City.’” ABC/Review

“Thrash grooves meet soaring orchestra — a genuinely fun combo.” Album/press notes

Interesting Facts

• Metal pedigree: Anthrax’s Scott Ian and ex-Slayer drummer Dave Lombardo tracked guitars/drums across the score — not just on the single.
• Cello hero: Tina Guo’s electric-cello screams cut through the mix on the title track.
• Diegetic fun: “Kiss from a Rose” literally lives inside a super-suit — then detonates into the scene.
• Playlist cameo: Isley Brothers’ “Voyage to Atlantis” smooths out a date… even with crab claws.
• Credits two-fer: After the single, the album’s “Thunder Force Suite” continues over later credits.

Technical Info

• Type: Feature film soundtrack (original score + select songs)
• Title: Thunder Force (Music From the Netflix Film)
• Year: 2021
• Composer: Fil Eisler
• Featured musicians (score/single): Scott Ian (guitars), Dave Lombardo (drums), Tina Guo (electric cello)
• Theme song: “Thunder Force” — Corey Taylor & Lzzy Hale (vocals) with Ian, Lombardo, Guo & Eisler
• Labels / credits: Milan Records; ℗ Maisie Music Publishing under exclusive license to Sony Music Entertainment (digital)
• Notable placements: “Smuggler’s Blues” (car sing-along); “You Belong to the City” (grocery-store dance & coda); “Kiss from a Rose” (suit gag/assault); “Voyage to Atlantis” (date); AC/DC & Whitesnake for setup montages; “Thunder Force” (end credits)
• Trailer ID (figures): EqqOkAvr6O0

Questions & Answers

Who composed the score?

Fil Eisler — with live metal muscle from Scott Ian (guitars) and Dave Lombardo (drums) across key cues.

What song plays over the end credits?

“Thunder Force,” an all-star track led by Corey Taylor and Lzzy Hale with Ian, Lombardo, Tina Guo, and Eisler.

Which Glenn Frey songs are in the movie?

“Smuggler’s Blues” (car sing-along) and “You Belong to the City” (romantic slow-dance; reprises near the end).

Is there a separate songs album?

No dedicated “various artists” disc; the official album is Eisler’s score (plus the single). Spotify’s official playlist gathers the licensed cuts.

Does the film use songs diegetically?

Often — radio sing-alongs, in-store music, and even a super-suit track (“Kiss from a Rose”).

Key Contributors

Sources: official trailer; label/album pages; soundtrack scene guides with timestamps; press items on the title track; critic reviews noting the Glenn Frey and “Kiss from a Rose” gags; official/curated playlists for licensed songs.

November, 29th 2025