Marty Supreme (soundtrack)

Marty Supreme (Original Motion Picture Soundtrack) is the film score composed by Daniel Lopatin to the upcoming sports comedy-drama film Marty Supreme directed and produced by Josh Safdie starring Timothée Chalamet. The film score is scheduled to be released through A24 Music day-and-date with the film on December 25, 2025. Lopatin's work has been nominated for numerous accolades including the Critics' Choice Movie Award for Best Score amongst others.

Daniel Lopatin who worked the Safdie brothers on their previous films composed the score for Marty Supreme.^[1] He read the script during a flight to Los Angeles in 2023 and developed the themes of the film in his mind, even though he had to touch with the essence of the film, both in poetic essence and the armature of the score. Safdie curated a Spotify playlist to guide Lopatin through the composition which included music from artists such as New Order, Tears for Fears, Peter Gabriel, Fats Domino and Constance Demby.^[2]

Lopatin admitted that he and Josh were open to the idea of time being "a little bit malleable, a little bit gelatinous" and that process let the score to have a life of its own.^[2] Both of them worked on the score for 10 weeks, where Lopatin insisted on renting a tiny studio space in Manhattan for scoring the film. The 1950s setting of the films had demanded the use of electronica—a combination of sequenced beats, zinged harps and treated choirs. Lopatin worked on this film, and sketch demos, while also working on his studio album Tranquilizer (2025) which had a difficult production deadline.^[3] Recording and mixing of the score happened at Electric Lady Studios in New York City.^[2]

The soundtrack was announced on December 3, 2025, featuring 23 tracks.^[4] The album is scheduled to be released day-and-date with the film on December 25, 2025, through A24 Music.^[5]

Critics praised Daniel Lopatin's score in the first reactions of the premiere.^[6]

Peter Debruge of Variety wrote "the semi-ironic selection of period-incompatible power anthems [are] effectively complemented by Daniel Lopatin's erratic-pulse score."^[7] David Rooney of The Hollywood Reporter wrote "One of the movie's key conversation starters will be its audacious use of music, from Daniel Lopatin's shimmering orchestral score to needle drops that evoke both the 1950s setting and the 1980s vibe of the filmmaking. Any midcentury period piece that opens and closes with Tears for Fears — respectively "Change" and "Everybody Wants to Rule the World" — is not doing things the orthodox way. (The music cue for Peter Gabriel's "I Have the Touch" is exhilarating.) As much as Lopatin's ping-ponging percussive flights, the blasts of synth-pop fortify the idea of Marty as a volatile dreamer who sets himself no limits as he barrels toward the future."^[8] Calling Lopatin as one of the key contributors, Brian Tallerico of RogerEbert.com wrote "Lopatin's pulsing score, along with the crazy needle drops, becomes a character itself."^[9]

Jamie Graham of Empire wrote "a shimmering, surging electro score by Daniel Lopatin that sounds part inspirational John Hughes movie, part cosmic mysticism and part John Carpenter menace".^[10] David Ehrlich of IndieWire wrote "Daniel Lopatin's synth-driven score [was] so intricate and voluble that it functions like a second screenplay".^[11] Ross Bonaime of Collider wrote "jarring score" adds to the momentum, "escalates Marty's every movement and makes us inherently uncomfortable as things go from bad to worse."^[12] Chris Bumbray of JoBlo.com wrote "[Daniel] Lopatin's score is evocative of Tangerine Dream, which is appropriate as the film seems heavily influenced by Risky Business, while choice New Wave cuts from Tears for Fears, New Order, and Public Image Ltd. fill the soundtrack."^[13]

Marshall Shaffer of Slant Magazine wrote "pulse-pounding synth-pop score".^[14] Nick Schager of The Daily Beast wrote "Scored to 1950s pop hits, '80s New Wave, and Daniel Lopatin's soaring orchestral compositions, Marty Supreme has more than a bit of Scorsese-ian flair".^[15] Vikram Murthi of The Film Stage wrote "Daniel Lopatin's synth-pop score, combined with an anachronistic use of 1980s pop hits, productively clashes with Marty Supreme's Eisenhower-era setting: both sound and image encapsulate different defining eras of American conservatism where skepticism of The New runs rampant, embodying the spirit of a protagonist stuck in the wrong time."^[16] Dominic Griffin of Looper wrote that "the 1980s needle drops and Daniel Lopatin's dreamy, synth score, feeling like Uncut Gems (2019) if it was The Karate Kid (2010) or some other aspirational sports drama from that era."^[17] Pete Hammond of Deadline Hollywood wrote "Daniel Lopatin's swell musical score that hits all the right notes in ping-ponging from one mood to another".^[18]

Robbie Collin of The Daily Telegraph called it a "jaggedly seductive score".^[19] Clarisse Loughrey of The Independent wrote "While Marty Supreme is set in 1952, Daniel Lopatin's electronic score is distinctly Eighties in flavour – Marty's running so fast at life that he's ended up three decades in the future."^[20] Kristy Puchko of Mashable wrote "The score by Warp Records artist Daniel Lopatin (who also provided the sweaty soundtrack for the Safdies' nerve-wringing Good Time) is smartly anachronistic. While the movie is set in the 1950s, the score is loaded with synth and percussion that feels more attuned to '80s sports movies like Rocky or The Karate Kid. Along with adding a pulse-pounding energy to Marty Supreme, this score also suggests that its wild anti-hero is perhaps a man before his time."^[21] Chris Evangelista of /Film wrote "Daniel Lopatin's exciting score, mixed with anachronistic '80s pop songs on the soundtrack, gives everything a vibrant, thrilling aura, as do the genuinely exciting table tennis scenes."^[22]