“Needle in the Hay” in The Royal Tennenbaums.
That one’s been ruined by the fucking vile cat-rape scene in Leolo.
The latter one: no wonder Pauline Kael made reference to Stevens’ “mushy-minded” lyrics. (That second one was brutal, right?)
Meh - I’ll go with “Trouble”, which was excellently edited in, at the end, with all of Cort’s hospital hysteria. Quite powerful.
Of the many tunes in Casino, for some reason Devo’s cover of “Satisfaction” seems to stand out.
“Last Train to Clarksville” in After Hours, the scene featuring awesome stalwart Teri Garr.
“Happy Together” - Adaptation
“Shout” - Animal House
Can’t remember which Jim Jarmusch film had Jesus Lizard’s “Here Comes Dudley”.
A toss-up in Boogie Nights between You’ve Got the Touch, OR Feel My Heat
Also gotta like Eric Burdon’s Spill the Wine in one of the pool scenes.
Er actually, no - NIGHT RANGER!!! (moto-rin…)
“We Will Rock You” - big showdown finale in obscure gem FM.
“Goodbye Stranger” - Magnolia
If I can slightly derail with numbers in movies that sucked: goofy “Kashmir” send-up in Bad Lieutenant during the (um, slow motion) rape scene, and then there’s another rape scene in the first Emmanuelle that desecrates parts from King Crimson’s “Lark’s Tongues in Aspic, pt I”.
Maybe an argument can be made, here, that scenes like that (along with the aforementioned Leolo one) could probably do without the music, which, in “stylizing” the scene to make it somehow seem more hip, or edgy, instead comes across as cheezy - no, fucking gross - glorification. And I thought it was tedious rehashing of “Whiter Shade Than Pale” (more like soundtrack than needle drop, really) in the artsy Nolte segment in the somewhat dumb-ass New York Stories. (really? Woody’s giant mom? meh)
I think Tarantino and Scorsese can be acknowledged as masters of this technique, but there is another movie that takes it to a higher art form: Edgar Wright’s “Baby Driver.” Not only do the songs perfectly complement the action, but the characters seem to be moving in time with the beat, whether it be shooting guns, driving cars, throwing punches, or jumping over obstacles. Truly amazing combo of acting and choreography and music direction.
Didn’t know about this wretchedness until a few months ago (thanks, Dope thread) - the ungodly appearance of Wreckless Eric’s “Whole Wide World” in Stranger Than Fiction.
Yardbirds kickin out (Stroll On) The Train Kept a-Rollin’ in Blow Up, featuring Jeff Beck taking his guitar* to his amp in a way that I’d describe as “lacking in aplomb”.
*belonging actually to The In Crowd guitarist Steve Howe. (kinda deserved it, with douche band-name like that.) (ha! next one wasn’t a whole hella better!) 
Hey, good one. Brief hijack: It’s fun to compare versions of this tune. Besides Aerosmith and Yardbirds there are I think two more, one of them predating all the others. Puts Perry’s part in perspective.
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“Don’t Stop Me Now” by Queen; the infamous jukebox fight scene in “Shaun of the Dead.”
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“Nobody But Me” by The Human Beinz; Beatrix vs. the Crazy 88 in Kill Bill Vol. I
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“Wake Up” by Rage Against The Machine; as Neo hangs up the phone during the last scene of “The Matrix.”
Two shittys:
Kevin Spacey annoyingly attempting “American Woman” in American Beauty.
Louis CK attempting “Who Are You” (with air bass soloing!) in Louie.
Both in cars at the time.
Still not sure I understand the question but if it means what I think it means, then the first thing I think of is Old Time Rock & Roll in Risky Business.
Two from The Deer Hunter
God Bless America
Can’t Take My Eyes Off Of You
Comic-book fans are a notoriously fickle bunch when it comes to films, and maybe never more so than with WATCHMEN: some loved it, and some hated it but granted that, “yeah, okay, the bit with The Times They Are A-Changin’ was perfect.”
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AC/DC’s “Shoot to Thrill” from Iron Man 2
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AC/DC’s “Thunderstruck” from Battleship
And just so you don’t think I’m totally low-brow…
- Mozart’s “Lacrimosa” from Come and See.
Does the “Requiem” scene in *Amadeus *count?
The Immigrant Song - Thor: Ragnarok
Bohemian Rhapsody - Wayne’s World
Battle Without Honor or Humanity - Pulp Fiction
Yep. Loved it!
In Fast Times at Ridgemont High, Mike Damone advises Ratner, “When it comes to making out, put on side 1 of Led Zeppelin IV”. Cut to the scene with Ratner driving to the restaurant with Stacy on their date, and “Kashmir” kicks in. Which of course is famously *not *on LZ IV, but rather on “Physical Graffiti”. But that don’t matter, it’s still a great needle drop!
Trainspotting - Perfect Day
Peaceful, soothing music about spending the “perfect day” with someone, juxtaposed against the nightmare of Renton’s overdose. Often interpreted as a love song to heroin by Lou Reed, who has vehemently denied it.
Boogie Nights - Sister Christian
One of the most tense scenes ever.
Donnie Darko - Head Over Heels
I like it because it solidly establishes the setting as the 80s.
The Thomas Crown Affair (1999) - Sinnerman
Pulp Fiction - Miserlou
Shaun of the Dead - Don’t Stop Me Now
IMHO, it has an even greater impact because it’s the first (and only) rock tune heard in the film - every other piece of music played until then was either orchestral or electronic. The sudden change in musical genre underlines how things have changed at the end of the movie.
I Wanna Be Your Dog (Lock, Stock & Two Smoking Barrels, Poker Game)
Freebird - Kingsman
Old Man River - Joe vs the Volcano
Rumble - Pulp Fiction