According to my scorecard, that's already four flawless song choices (I'm not counting the fairly innocuous Marley or Allen tracks) in the first 15 minutes of the movie. They all work as set pieces for the individual scenes and create perfect tones for the first act, which is hugely important. Apatow got this movie off on the right foot with his typically sharp dialogue, yes, but also with his song selections.

This trend continues throughout the movie, with no missteps.

For the drunk hookup, he dropped in B-52's "Rock Lobster," which was kind of thrilling, because last year I was way too into Pitbull's "Hey You Girl," a rollicking dance rap cut that improbably put "Rock Lobster" to use as a sample. I never bothered to track down the original, but there was no way I could miss that rapid bass line once it kicked in while Ben and Alison raced across the front lawn. Another great choice.

The Wainwright score is spot-on throughout, filling little gaps like when people walk across lawns and sit in waiting rooms. The Wainwright element of the movie kills me, because of the fact that we've got this prolific folk hero of yesteryear and father to music demigod Rufus Wainwright both scoring a comedy beautifully and also playing his usual cheery man role in that same movie.

Wainwright played this part to perfection on the short-lived Apatow series "Undeclared," where he was the classically awkward father of a freshman student (played by Baruchel). I just love the fact that he's in this movie as the gynecologist of choice (who ultimately lets them down), while he's also threading together this wonderful soundtrack. It is this type of cohesion and attention to detail that defines the Apatow Experience.

For the frantic scene where Alison and Debbie race around the grocery store buying pregnancy tests and then taking dozens of them, Apatow used "Police On My Back" by the Clash, which was nothing short of brilliant.

The implementation of Britney Spears' "Toxic" while Ben and Pete are driving to Vegas is great use of irony and satire without being overly clever about it (a fine line to navigate).

For the obligatory montage scene, the selection of Bright Eyes' "We Are Nowhere and It's Now," made the segment extremely touching and rich.

The closing credits, featuring the original track "Daughter" by Wainwright brought the movie full circle by tapping into the emotional core that made it so appealing to such a wide cross-section of people. For such a crude movie, it was the heartfelt touches that took it above the fray of typical R-rated comedies. This final song, coupled with a passing-of-time montage, gave the movie the gravitas that made people walk out of the theatre feeling touched by a movie that was as steeped in gross-out humor as they come.