Top 30 Most Epic Movie Villain Songs

“Kiss Me Kate” follows two divorced thespians who find themselves acting in a musical version of Shakespeare’s “Taming of the Shrew.” As you might guess, the events of the movie itself turn into a reimagining of the famous play. Gangster duo, Slug and Lippy, may not feature in the original, but they make their mark on this retelling. The two heavies are hired to collect a gambling debt from leading man Fred — but it’s nothing personal, they’re just doing their job. They even find time to give some relationship advice. “Brush Up Your Shakespeare” is an entertaining duet, featuring clever word play and performed with roguish charm.

Andrew Lloyd Webber and Tim Rice’s colorful musical transforms the biblical story of Joseph into an imaginative journey through an array of musical styles. Joseph’s jealous brothers get a few tunes between them, including a calypso-style number and a French-inspired ballad. However, it’s “One More Angel in Heaven” that really shows off their villainous credentials. After selling their sibling into slavery and faking his death, the brothers return to their father to break the bad news. Reuben takes the lead, spinning a farcical tale of Joseph’s final hours. Darkly comic with country-western stylings, it’s a fun bit of dramatic irony ending in a full-on hoedown.

There are some great songs in this rendition of the classic fairytale, and the stepsisters get one of the catchiest. Natalie Desselle and Veanne Cox are a great comic foil to Brandy’s sugar-sweet Cinderella. Their lament could be straight out of a pantomime — it’s suitably petty and very funny too. The duet is just too catchy to let go. We also can’t ignore Bernadette Peters’ scene-stealing turn as the wicked stepmother. She puts a bitter spin on a lovelorn ballad from another Rodgers and Hammerstein musical, resulting in another fantastic villain song, “Falling In Love With Love.”

Ken surprised us all by becoming the main antagonist of the Barbie movie. Like many of the best villains, he almost stole the show. After taking a trip to the real world, Barbie’s boyfriend discovers the patriarchy and returns to Barbieland ready to rally his fellow Kens. But the Barbies fight back, resulting in an existential crisis for the Kens and their leader. “I’m Just Ken” is one of the movie’s best bits and Ryan Gosling really gives it his all, impressing with both his vocal and comedic talents. The tune was even nominated for an Academy Award, and Gosling’s live performance was a highlight of the ceremony.

You might be surprised to learn this familiar tune originated as a villain song in the musical “Damn Yankees.” The movie’s take on the tale of Faust follows Washington Senators fan Joe, who sells his soul to Satan for the chance of victory for his team. Gwen Verdon reprised her stage role as Lola for the film. Her character is a servant of the devil, sent to entice the hero with the aid of feminine wiles and Bob Fosse’s choreography. Her sultry solo, written by Richard Adler and Jerry Ross, became the movie’s most memorable moment.

The “Mean Girls” remake was met with lukewarm reviews by critics and audiences, but it justified its existence thanks to a serious star turn from Reneé Rapp. Rachel McAdams was iconic as the original leader of the plastics, but Rapp remakes Regina George in her own image. Her musical introduction tells us all we need to know about the character. The satirical lyrics are sharp, funny, and totally over the top. Rapp has the charisma to carry them off and make us believe that Regina would rule the school. In the reprise, “World Burn,” she reminds us of her power and really gets to show off her vocals.

“Gaston” is the kind of musical number that made us believe “Beauty and the Beast” would make a great live-action musical. It’s a raucous drinking song with plenty of room for dancing and spectacle. It also places the villain front and center, revealing that despite his brutality and his shallow nature, he’s adored by the villagers. This comes in useful later on, when he rallies the mob for another great villain song. In the 2017 film, Gaston is played by Luke Evans, while Josh Gad is his singing sidekick LeFou. The dastardly duo are perfect for their roles and you can just tell that they’re having loads of fun.

In Charles Dickens’ famous festive tale, Scrooge was visited by four spirits on Christmas Eve. In the Muppets’ version, it’s five, thanks to the casting of Statler and Waldorf as Scrooge’s former business partners. Every tune in “The Muppet Christmas Carol” is a banger — we also love Scrooge’s introduction — but “Marley and Marley” has everything you could want from a villain song. The heckling Marley Brothers sing Scrooge a musical warning that will make adults laugh and very possibly give the kids nightmares. Paul Williams’ lyrics provoke both thoughts and chuckles, while the whole atmosphere is wonderfully spooky.

The live-action version might not live up to the 1989 classic, but “Poor Unfortunate Souls” would be a great song in any context. The style is an intoxicating mix of Broadway and burlesque. It’s a perfect fit for the sea witch, whose original characterisation is said to be inspired by the drag queen Divine. Ursula’s solo is a seductive sales pitch, glamorizing the life she could offer Ariel and minimizing the cost. Howard Ashman’s lyrics are whip smart and wryly funny. Melissa McCarthy pays homage to the vaudevillian panache of the Pat Carroll original while also putting her own stamp on the material.

Lionel Bart’s classic musical softened the character of Charles Dickens’ Fagin. It turned him from an out-and-out villain into a loveable rogue and ironed out some of the more problematic elements of his characterisation. There’s no denying Fagin’s still a bad guy, but he’s also the best bit of the movie and can boast three of the show’s best songs. “Pick a Pocket or Two” might be the catchiest, but “Reviewing the Situation” is Fagin’s monologue. The audience gets a glimpse into the inner-workings of his wicked mind as he weighs his options. Is it time to go straight, or should he continue to smile and be a villain?

Tim Curry as Long John Silver in a “Muppet” movie, it’s a recipe for success! The recipe wouldn’t be complete without a villain song and thankfully, “A Professional Pirate” marks the spot. The only downside is that it’s Mr. Silver’s only number. Where Jim sees pirates as irredeemable murders, Silver and his crew have a different perspective. This is reflected through the jolly lyrics and upbeat melody reminiscent of a classic sea shanty. The song captures the comradery, pride, and thirst for adventure that come with being a pirate, practically convincing the audience to enlist. And since Silver’s crew has a member named “Black Eyed Pea,” he naturally gets a solo. Carried by Curry’s unmatched charisma and the Muppets’ satirical wit, it’s definitely a contender.

With a top hat, goatee, and devious name, Dr. Terminus makes it no secret to the audience that he’s the bad guy. Of course, the lack of subtlety is part of what makes this villain so fun. Along with his assistant Hoagy, Terminus plots to slice Pete the dragon up and sell him piece by piece for an enormous profit. When you think about it, this is actually a pretty gruesome plan, but the song appropriately keeps in tune with the film’s lighthearted tone. The number conveys just how much Terminus enjoys being wicked, practically salivating over every dragon part and every pound of money. Terminus and Hoagy are like two kids in a candy store, or a severed dragon parts store in this case.

Director Alan Parker’s debut feature takes an original approach to the gangster genre, casting an ensemble of child actors against a prohibition backdrop. “Bugsy Malone” combines the grit of a mob picture with the charm of an elaborate school play. The music by Paul Williams also strikes just the right chord, particularly “Bad Guys.” Life could’ve taken Fat Sam Staccetto’s gang down many routes, but crime was their natural calling. With a spring in every step and lyric, the song finds the middle ground between being a wise guy and being a smart ass, demonstrating how going bad can feel so good. By the end, though, you may find that these bad guys aren’t so rotten after all. Maybe they just need a little love.

Not many would think to center a lavish musical number around an organization as infamous as the Spanish Inquisition. If there’s one thing Mel Brooks is known for, though, it’s tackling taboo subject matter with a smile. “The Inquisition” borrows notes from the likes of Busby Berkeley and Esther Williams, although the setting is grimier than what you’d usually see in one of their pictures. The torture devices are cleverly integrated into the choreography, as painful as they may look. The shocking imagery is balanced out by the irony that Brooks himself is Jewish and the true target of ridicule is the Inquisition. The Inquisition fortunately isn’t here to stay, but this tune won’t be leaving your head any time soon.

Many would describe “Scott Pilgrim” as an underrated comedy and comic book adaptation. We’d go as far as to say that it’s also an underrated musical. Even if it doesn’t quite fall under that genre, music plays an integral role. Performed by Matthew Patel, one of Ramona’s seven evil exes, this song gives Scott a taste of the insanity that he’ll have to endure to be with his dreamgirl. Keeping with the film’s video game theme, we could totally imagine a song like this popping up in a boss battle. “Slick” also wouldn’t feel out of place in a Bollywood number. Patel may have fireballs and vampiric backup dancers, but Scott proves slicker in combat. We just wish all the other exes got a song.

While not everyone is a fan of Russell Crowe’s singing voice, “Stars” remains a pivotal number in this stunning adaptation of “Les Misérables.” Crowe plays Javert, a police inspector hell-bent on recapturing Jean Valjean. This understated song provides greater insight into his obsession. In Javert’s eyes, Jean Valjean is a fugitive following in Lucifer’s footsteps. Meanwhile, Javert views himself as a righteous man carrying out God’s will. Looking down on the city from a steep ledge, he vows to put Jean Valjean back behind bars. Throughout the film, Javert begins to see that matters aren’t so black and white. Once his ethics are called into question, however, he isn’t sure how to live with himself.

Directed by ​​Julie Taymor, this jukebox musical interprets several Beatles songs through a unique lens. For example, John Lennon wrote “I Want You” for Yoko Ono. In the film, the song goes from a man longing for a woman to Uncle Sam wanting to enlist Max. With the draft still in effect, it doesn’t matter what Max wants. It goes to show that music can take on numerous different meanings. The same can be said about figures like Uncle Sam. To many, he’s a symbol of strength and inspiration. To a reluctant draftee under the influence like Max, he’s a horrifying poster child for war. The nightmare fuel just keeps coming, as Max is confronted by stone-faced army recruiters on a conveyor belt of madness.

Dr. Evil hates Austin Powers about as much as he adores Mini-Me. In this scene, the doctor celebrates his archenemy’s capture while also embracing his pintsized clone. As a follow-up to their “One of Us” piano duet, Dr. Evil and Mini-Me perform a rendition of “Just the Two of Us.” Parodying Will Smith’s 1997 version, Dr. Evil raps about his relationship with his son, Scott. Unlike Will Smith, though, Dr. Evil isn’t exactly proud of his boy. As a matter of fact, Scotty is only second best compared to Mini-Me. The number showcases the villain’s eccentric side while also delving into his complicated family life. Plus, who knew Mini-Me could hit such a low note?

An epic villain song worthy of an epic final showdown. This comedy builds to a literal battle of the bands between our heroes and Satan, who’s cleverly played by legendary rocker Dave Grohl. Tenacious D has their work cut out for them, as Satan has reclaimed the ​​Pick of Destiny. Satan puts the pedal to the heavy metal with his drums, a guitar, and profanity in spades. He may have the powers of hell, but Tenacious D’s music is full of soul. This still isn’t enough to save Kage from a dismal fate, but Jables’ guitar is. Knocking off part of Santa’s horn, the Prince of Darkness is dragged back to hell. Now that’s what we call an epic final bow.

We know the internet has unofficially dubbed Grandpa Joe this film’s true villain, but “(I’ve Got A) Golden Ticket” just doesn’t strike us as a villain song. “I Want It Now,” on the other hand, matches Veruca Salt’s antagonistic nature to a T. The song has become something of an anthem for bratty children and - let’s be honest - bratty adults. We’ve all met somebody spoiled to the core who demands instant gratification. As obnoxious as those people can be, Veruca’s signature song doesn’t become annoying… at least not to the audience. This is thanks to the inviting set design, the humorous lyrics, and actress Julie Dawn Cole, who filmed this scene on her 13th birthday. Of course, nobody’s complaining when Veruca gets the chute.

Out of context, “Tomorrow Belongs to Me” may not sound like a villain song. On its own, you might be tricked into thinking that it’s an uplifting tune about today’s youth building a better tomorrow. Watching “Cabaret,” all seems innocent enough as a youthful voice is heard and others watch in delight. Once it’s revealed that the singer is wearing a Hitler Youth uniform, the song immediately goes from happy to horrifying. What’s even more disturbing is what almost everyone in attendance, children included, begins to proudly sing along. To them, Hitler isn’t a monster, but a triumphant leader. For modern audiences, it can feel like gazing into a parallel universe. Unfortunately, this song accurately mirrors one of the darkest chapters in human history.

Whichever adaptation of “Annie” you prefer, most would agree that you can’t top Carol Burnett as Miss Agatha Hannigan. Burnett showcases why she was born for this role through her performance of “Little Girls.” Cruel and constantly drunk on the job, Hannigan isn’t fit to run an orphanage. Yet, Burnett’s comedic timing makes the character lovable and even relatable, especially to anyone who’s ever had to look after several hyperactive children. We can tell through the song that Hannigan is at her wit’s end. Drinking everything in sight and fantasizing about a life without little girls is her only escape. We can’t think of an image that sums up Hannigan better than a bathtub of booze, which she uses a paddle to mix.

Velma Von Tussle is a villainess that’s stuck in the past, fighting change around every corner. During an audition for “The Corny Collins Show,” she isn’t at all impressed with the turnout. In a skillfully choreographed number, Velma remembers the good old days when she was crowned Miss Baltimore Crabs. Along with her daughter and a few other mean girls, she shuns the contestants for their appearances. Tracy is ultimately kicked out for her views on integration, demonstrating just how backwards Velma’s mindset is. Velma might be a horrible human being, but we’d be lying if we said this song didn’t make us want to do the cha-cha-cha.

This adaptation of Stephen Sondheim and James Lapine’s classic musical interprets various fairytale characters from a unique perspective. While Meryl Streep’s Witch is essentially your basic antagonist, the other characters aren’t necessarily good or bad. As the Witch puts it, they’re just “nice.” Everyone here makes mistakes, amounting to happy endings that aren’t all that happy. Rather than taking responsibility for their own actions, however, they blame the Witch – who arguably did start the chain of events. This sets the stage for a rousing number where the Witch decides to embrace her wicked side. As the ultimate mic drop, she places a curse on our supposed heroes before disappearing underground.

Granted, the six inmates behind this rousing song aren’t all necessarily villains. Most of them have blood on their hands, though, and it’s debatable if their actions were justified. As far as they’re concerned, their victims had it coming. “Chicago” blends the glamor of the stage with harsh reality. Few sequences pull this off as flawlessly as “Cell Block Tango,” as Roxie envisions prison chatter through a theatrical lens. Using minimal props, the choreography paints a vivid picture of every story. The only one who claims innocence is Katalin “Hunyak” Helinszki, who ironically meets the grimmest fate. It all builds to an electrifying finale in this masterclass of lightning, cinematography, production design, and editing. The number is so much fun, it should be a crime.

Judge Turpin is the most despicable person in this musical, wrongfully imprisoning Benjamin Barker, raping his wife, and caging up his daughter like a bird. Of course, the film’s titular character isn’t exactly a saint either. In this chilling scene, both men come together and sing about their monstrous plans. Unaware that Sweeney Todd is Barker, Turpin dreams of forcing Johanna into marriage. All the while, Todd prepares to slit his enemy’s throat. As dark as the subject matter is, the song is hauntingly calm and even soothing. As Todd’s razor grows closer to Turpin’s neck, though, the melody becomes more and more heart pounding until we reach the final curtain.

A truly great villain can corrupt even the most innocent souls. The kindly Seymour Krelborn is taken aback upon realizing his plant, Audrey II, can talk. With a deep booming voice, Audrey II demands blood and lots of it. Through a rockin’ villain song, the plant motivates Seymour to feed him by killing people. Although the promises of fame, fortune, and love tempt Seymour, he still has reservations about committing murder… that is until he sets his eyes on a cocky dentist. While Seymour continues to feed the plant, he eventually sees Audrey II for what he really is during the Oscar-nominated number “Mean Green Mother from Outer Space.”

Curses and music go hand in hand for the Sanderson sisters. To allure Salem’s little children, Sarah Sanderson sings a hypnotic tune with the essence of a lullaby. Of course, the most enchanting musical number in the movie has got to be the witches’ rendition of “I Put a Spell on You.” Winifred, Mary, and Sarah put an upbeat spin on this rock and roll classic. With Bette Midler providing lead vocals, the sisters cast a spell on the adults of Salem, not to mention the home viewing audience! If you want people to dance until they die, we can’t think of a catchier tune to expire to.

The audience is supposed to root against the bad guy, but that proves exceedingly difficult when a villain is this much fun. It’s impossible not to like Jareth, the Goblin King, played by the invaluable David Bowie. In addition to starring, Bowie wrote and recorded multiple original songs for “Labyrinth.” The standout is easily the show-stopping “Magic Dance.” As little baby Toby breaks out in tears, Jareth and his minions perform a number that’s guaranteed to put a smile on anyone’s face. Toe-tapping, energetic, and of course magical, we could dance all night to this song.

Dr. Frank N. Furter is another villain that the audience can’t help but love. In this uproarious number, we’re introduced to the sweet transvestite from Transsexual, Transylvania. Like the rest of the film, the song is bizarre, random, and overflowing with uncomfortable sexual tension. If you’re in the mood for something totally off-the-wall, however, you’re bound to have a good time. What’s more, Tim Curry kills it with this scene, lighting up the silver screen with his charisma, comedic timing, and unusual brand of sexuality. Whenever an audience watches “The Rocky Horror Picture Show,” they always await this song with great antici…pation.

What’s your favorite villain song? Let us know in the comments!