John Krasinski’s well-received break-out hit A Quiet Place drew attention on this blog last year for its relative absence of music; the trailer for its follow-up, the aptly-appended Part II, continues this approach.

Now in our third year, as we close 2019 we wanted to look back and honour what we thought were a few key trailers that really moved the needle in terms of the art of placing film in concert with sound and music in a small-scale narrative form.

As we begin to close out this year—and decade—the barrage of polarized political news finds either a reprieve or a conduit, depending on how one may approach it, with In the Heights.

Set in the eponymous Washington Heights, a neighbourhood in northern Manhattan, New York, the musical is set to Lin-Manuel Miranda’s words and melodies, while Jon M. Chu (Crazy Rich Asians) takes the director’s helm.

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.