It’s been 50 years since the summer of 1968 and to commemorate that revolutionary time in American history, Julie Taymor’s Beatles movie-musical Across the Universe returns to the big screen on July 29, July 31, & August 1. Needless to say, fans of the cult Golden Globe & Oscar-nominated film are PUMPED. (Here’s a full list of theaters showing the Fathom Events re-release.)

Below, BroadwayBox takes on the incredibly difficult task of ranking the musical numbers from the film (because as a fan of the movie, I love seriously love them all).

26. It Won’t Be Long

Ok, shook that the boyfriend in this number is Head Over Heels choreographer Spencer Liff & that his character name Daniel is from “Rocky Raccoon”. Otherwise, this is just a sweet song at any high school USA—the basketball sequence is the most interesting part.

25. Revolution

Great moment for Jim Sturgess as an actor & singer, but who is seeking out this number when they are in the mood for Across the Universe kiki?

24. If I Fell

Rachel Evan Wood is quiet and beautiful here. In the performance is a glimpse of the Emmy-nominated star she would soon become, but overall, this number is a skip song.

23. Girl

This always gave me such a Coldplay music video vibe (in a good way).

22. Blackbird

No complaints, but also what is there to really shout about? Solid song.

21. All My Lovin’

Jim Sturgess is undeniably sexy here, and the play against Rachel Evan Woods’ Lucy works nicely too.

20. Don’t Let Me Down & All You Need Is Love

“Don’t Let Me Down” sounds sick as hell—where are you Dana Fuchs?!—but the gang of friends talking the police down always caused an eyebrow to raise. Then there’s so much chaos in the film's final fleeting moments. It’s a no from me, dawg.

19. Because

Sexy and mellow and beautifully arranged.

18. With a Little Help From My Friends

Joe Anderson is so charismatic in this film, it really sells this number. Granted, this number is not as clever or creative or fierce as future numbers highlighted but it’s fun.

17. While My Guitar Gently Weeps

This moving tribute to the MLK assassination is incredibly performed by Martin Luther McCoy. It’s simple but really beautiful. And that ending with Martin & Jim Sturgess lamenting is golden.

16. Hold Me Tight

Yeah, this really worked for me, establishing Rachel Evan Wood’ Lucy (in the sky with diamonds) and Jim Sturgess’ Jude (as in hey!) as characters and the worlds each from coming from. It holds up.

15. Why Don’t We Do It In the Road

My god, Dana Fuchs gave me my MF life in this movie. VOCALS upon VOCALS. Also, the cat and mouse flirtation of Lucy & Jude is all too familiar.

14. I Am the Walrus

Bono’s big LSD trip feels so fitting. What else would you do with this number? It’s such a visual feast too.

13. Strawberry Fields

A number so good and visually appealing that it became the movie’s original key art basically. This number is so many things all at once (like much of the film) but it really is so beautiful, albeit heavy-handed.

12. Something

How have I never noticed how very “draw me like one of your French girls” the opening of this number is?! Seriously. I think this is my favorite of Jim’s numbers randomly. His vocals are lit here, and I adore that longing quality in his voice.

11. Dear Prudence

There’s no accounting for taste, but I truly love this number. It’s one of the ones that works best on the recording—it doesn’t rely on the visuals. Though the visuals are great—the march shows off Taymor’s signature mask & puppet work in a way that works for the story and the film.

10. Being for the Benefit of Mr. Kite

Speaking of puppet work, Eddie Izzard’s “Benefit of Mr. Kite” is weird AF, but the movie is weird AF, and therefore this MUST be included in the top 10. It’s also evocative of “Yellow Submarine”.

9. Happiness Is a Warm Gun

Blah blah Liverpool, this number kicks off in the vet hospital. The morphine dream featuring Ms. Salma Hayek is what this moment is all about. Everything about the number felt so creative and unexpected.

8. I’ve Just Seen a Face

Why even attempt a bowling alley scene in a musical after Grease 2 did it so iconically? But Across the Universe went there and came out the victor. When the lights change (1:25), it feels like Beatles section at the Mirage Hotel in Vegas in all the best ways possible.

7. Oh! Darling

When the musical’s Janis Joplin character and its Jimi Hendrix character have a sing off, it is EVERYTHING. Vocal pyrotechnics!

6. Across the Universe & Helter Skelter

I’m a sucker for a well-done subway moment (lookin’ at you Rent) and a little Hare Krishna  moment (lookin’ at you Hair). Then we get Dana Fuchs wailing on “Helter Skelter” over the repeating “Nothing’s gonna change my world”. It ends, of course, with the V. Taymor moment of the silver female chorus at 3:59.

5. Hey Jude

The beloved Beatles tune earns a high place on the list because it packs the punch it needs to (in the arc of the film and as a stand-alone YouTube clip). Joe Anderson’s voice is beautiful; love the Stomp the musical moment at 2:30; sure the kids chorus is a little corny, but I think Joe yelling at 3:24 makes up for it.

4. I Want to Hold Your Hand

T.V. Carpio as the lesbian cheerleader longing for her fellow squad member is everything. This arrangement, the moment the camera pulls back and you realize she’s crushing on a girl, and, of course, her walking through the footballers at 1:43. This is a part of the film even the toughest critics could appreciate.

3. I Want You (She’s So Heavy)

This number is serving it all to you: Trippy Uncle Sam, the assembly line of war in America, mask work, choreography, & that stunning moment all the guys are carrying a heavy Lady Liberty through Vietnam. Well done, Julie Taymor!

2. Come Together

I legit live for those Joe Cocker vocals and this seedy Times Square hooker moment that is giving you HBO’s Duece meets The Life. (Shout out to scene-stealer Orfeh!) Then you have the whole guys in suits moment, and finally you’re in the West Village and it’s like a nostalgic stoner’s dream.

1. Let It Be

Broadway’s Carol Woods & Timothy T. Mitchum just OWN this song—let’s get that out of the way right off the bat. Then in a stroke of Taymor genius, I love the juxtaposition of the Detroit riots and with Spencer Liff’s character suburban funeral. This was one of the few moments in this movie, you really felt something emotionally.