Undoubtedly the breakout hit of the DC Extended Universe that Warner Bros. Pictures is pushing to capitalize on the past decade of Marvel’s dominance in theatres, Wonder Woman receives its due sequel in June 2020. Its first trailer drops just in time for the holiday season, and as per the title no time is wasted to foreground the new film’s central conceit as evidenced in the title—worlds away from World War II, instead we have Gal Gadot in the time of neon and synthesizers.

We are once again on the verge of holiday trailer season, and among the first out of this proverbial gate comes promo for the long-anticipated conclusion to Daniel Craig’s run as James Bond, No Time To Die.

While Trailaurality covered Knives Out previously, this last trailer—more of an homage than a parody or satire—is more than worth a look and listen.

6 Underground, the new Netflix special starring Ryan Reynolds and directed by Michael Bay, is exactly what you might suspect that particular pairing would produce: In essence, this is Deadpool’s Italian Vacation, with the deft mix of action and comedy that title implies.

In Pixar’s latest, Soul, Joe Gardner is a middle-school band teacher, but he wants to be a jazz musician; more than that, he feels he’s born to do it. After Joe’s rhetorical question—with Jamie Foxx’s readily identifiable voice first taking the fore—we hear “Overture (The Click)”, a 2017 track by AJR, an American pop band known for for being multiinstrumentalists self-producing their material in their apartment.

From director Noah Baumbach (Frances Ha) comes Marriage Story, an somewhat ironically titled film considering it follows the dissolution thereof through divorce proceedings.

“Lucky Trumble” by Nancy Wilson, originally released as part of 2000’s Almost Famous soundtrack, arrives anew in this trailer and covers the first twenty-seven seconds as our two protagonists recount what they admired about each other, up until a gentle breaking point when they both notes simultaneous that the other is “very competitive.”

The trailer for Netflix’s The Laundromat, a Steven Soderbergh-directed, Meryl Streep-starring satire about the Panama Papers, arrived just last Friday; it owns a playfulness in its dialogue and narrative that is matched in the way it so effusively engages in an interdiegetic interplay between voice and music.

As sure as the October air, NYCC 2019 has come and gone, and with it left a minor dust storm of this fall’s slate for streaming television. Much like our San Diego Comic Con writeup before it, here are just a few of the trailers that caught our ears for their diverse uses of music and sound to punch up the image.

Ian McKellen (Richard III [1995], The Lord of the Rings trilogy, among others) is at full front and centre here in this second trailer for Bill Condon-directed The Good Liar. Narratively, the film centres on career con artist Roy Courtnay’s difficulty performing what ought to have been a simple swindle of rich widower Betty McLeish, but he finds himself inadvertently enamoured of her.

In this psychological thriller we find novelist June (Naomi Watts) in 1977 New York City during the blackout riots, barely staving off paranoia and writers’ block in her South Bronx apartment.

After a very brief Universal studio card with bridging audio—no micro-teaser here—right away we are introduced to the protagonist’s cloistered world through a series of shots the contrast heavily in aural perspective. First we’re inside a bowl of water, only to taken out with the buzzing of a shaver; an tinnitus-like shrill sound gradually overtakes the radio, the latter of which serves to ground the chaotic symphony of domestic sequestering on display.

A reimagining of the 1993 Francis Ford Coppola film based on Frances Hudgson Burnett’s 1911 novel, the music in this trailer for The Secret Garden (2020) enlists an inventive and evocative harmonic move to spur the audience’s sense of wonder.

Based on 2013’s Stephen King novel of the same name, Doctor Sleep is a direct sequel to The Shining (1977 book; 1980 film adaption). Perhaps in part driven by the success of It and its sequel in theatres currently, Warner Bros. took advantage of the fact that there is already a famous visual language and memory to draw (and market) from the 1980 original. It’s clearly more the product of director Mike Flanagan, rather than paying any serious homage to Kubrick. The trailer music, however, starts from the original’s score, subsequently building on it.

Even Zach Galifianakis couldn’t have predicted that Between Two Ferns would not only be so successful to have lasted ten years (albeit sporadically, with a spread of twenty-one shows in total), but also that it would receive its own feature film edition. Almost naturally, the show that served as one of the progenitors of the Internet-based comedy show medium is premiering its movie on Netflix. Given the streaming giant’s predilection for picking up and ordering somewhat similar shows dispensing bite-size, reality TV humour such as Jerry Seinfeld’s Comedians in Cars Getting Coffee, it’s a natural fit.

You’ve got one guess as to what song is embedded in the trailer for director Noah Hawley’s Lucy in the Sky. Rather than simply insert the Beatles tune, however, motivic fragments from “Lucy in the Sky with Diamonds” are scattered across the two and a half minute running time like a fever dream, with just the faintest hints of the tune’s famous, chromatically tumbling piano line in the first few seconds.

Over the past few months and culminating in an avalanche of news and content at this past weekend’s D23 expo, Disney has released a steady array of trailers, confirming to us that the trailer remains the chosen vehicle for the promotion of moving images. The latest bunch are for properties exclusive to its upcoming Netflix competitor, Disney+, which launches in North America on November 12th. To that end, it’s worth investigating how the campaign fits together on an aural level. Here are four of the most notable-sounding trailers released this past weekend.

The first trailer for Martin Scorsese’s latest, The Irishman, has arrived and with it comes a decisive homecoming to the director’s flair for crime and gangster culture. Upwards of $200 million was spent on CGI work for younger versions of Joe Pesci, Robert De Niro, and Al Pacino, in service of the decades-spanning plot. 

Now that we’re well past San Diego Comic Con, Amazon Studios has released the trailer for Honey Boy in advance of all the trailers for films with a holiday release sure to come.

In a synopsis that sounds difficult to realize on paper yet confounds expectations, Honey Boy sees Shia LaBeouf—best known for the recent entries in the Transformers franchise—turning deeply introspective and semi-autobiographical. Based on his own experiences as a former Disney kid pushed to success by his father, the film promises to track a young actor’s difficult childhood, rise to fame, and recent turn to rehabilitation following substance abuse. 

The Goldfinch, adapted from the Pulitzer-winning 2014 novel by Donna Tartt, is directed by John Crowley and arrives mid September, in the thick of awards season. The trailer shrewdly leans into the complexity of its 780-odd page source material, featuring a musical source known for its sense of depth. While scored by Trevor Gureckis, the trailer opts for a rearranged and embellished version of “Terrible Love” (2011) by art rockers The National.