It’s unsurprising that Zack Hemsey’s “Mind Heist”—written when the composer was in his mid-20s—has been used again for Inception’s re-release trailer on the occasion of its tenth anniversary. So strong is the “Inception sound” cache that it’s the name of a Toronto recording studio; the origin and ongoing influence of the sound has since been profiled in multiple features, including those by Indie Wire (2013), The Hollywood Reporter (2015), and Longreads (2016). Not to mention the endless variants in trailers!

Director Gillian Flynn is adapting the series for American audiences from the original British drama, which follows comic book fans of a fictional graphic novel, Dystopia. While attempting to get information about its sequel, Utopia, they enter grave danger—and then the protagonist from the aforementioned comic book series shows up.

Disney shows little sign of relenting in providing reasons to sign up or stick with its streaming service Disney Plus, and post-Hamilton, that reason is Beyoncé’s latest visual album, Black is King. The choice of platform is of course not coincidental, as Black is King is heavily inspired by 2019’s live-action remake of The Lion King, to which Beyoncé contributed. It’s worth noting that the record, intended to incorporate and celebrate both African and Afro-diasporic musics, arrives at a particularly apt time as the world continues to reckon with the fact of systemic anti-Black racism.

Much like the return of Dumb and Dumber with 2014’s Dumb and Dumber To [sic], the Bill & Ted franchise (Alex Winter and Keanu Reeves, respectively) is set to return with a third entry after its 1989 and 1991 heyday.

Tesla, directed by Michael Almereyda and opening in theatres and on demand August 21, is a highly unusual take on the biopic format whose trailer has a musical score to match.

This weekend, a screenplay by Tom Hanks found its way not into theatres, but onto streaming services, with Apple TV+ having picked up exclusive rights. According to Hanks, those rights only came begrudgingly, as he lamented the inevitable loss in the overall quality of the experience in homes versus silver screen exhibition. Directed by Aaron Schneider, Greyhound is based on the United States’ participation in the Battle of the Atlantic in early 1942.

After years of speculation as to when exactly the filmed version of Hamilton—complete with original cast, of course—would arrive, Disney recently announced that Disney+’s latest exclusive would premiere on July 3rd. In addition to arriving just in time for Independence Day in the U.S., of course, the release was probably also timed and decided upon as a result of the ongoing pandemic. 

Dave Franco (Superbad, If Beale Street Could Talk) sits in the director’s chair for the first time with The Rental, a fairly on-the-nose horror film centred on the conceit of a vacation rental property gone awry. In the age of COVID-19, of course, it’s a bit easier to imagine such fears manifesting themselves. Musically, the trailer follows a three-part structure that’s both through-composed and is clearly purpose-built to gradually guide the dramatic arc from suspenseful to thrilling.

Originally due out May in tandem with Eurovision, the latest from Will Ferrell has him co-starring with Rachel McAdams as part of a songwriting duo hailing from Iceland. Eurovision, of course, is famous for its colourful and bombastic performances—material well-suited to Ferrell, and in this trailer he naturally leans into the spirit of the occasion.

In light of the ongoing protests happening in the United States, Canada and around the world under the banner of Black Lives Matter, we felt it was appropriate to pause this week and highlight a few of the film trailers we’ve covered that centre on Black lives and experiences. Hopefully you might discover something interesting and new to rent or buy—or see in theatres, perhaps eventually—as a result.

Christopher Nolan returns with his latest mind- and time-bending opus, Tenet; while it claims to be coming to theatres, the obvious unknown is when that might really be. Regardless, for the time being we have its latest trailer, which musically plays on its central conceit of time inversion in a couple of subtle and clever ways.

Ten years following the end of The Office, Michael Scott is pivoting from the paper industry to space military—this, in essence, is the pitch Netflix is offering those pining for more classic Steve Carrell antics come May 29th.

Spike Lee’s next directorial venture follows up on 2018’s critically-acclaimed BlacKkKlansman with Da 5 Bloods, an American war drama that centres on four African American Vietnam veterans who return to Vietnam in search of both the body of their deceased squad leader and the promise of treasure.

Since Coronavirus has captured the world’s attention, it stands to reason that there would be multiple documentary-style investigative pieces and explainers that attempt to inform or persuade the public. This simultaneously offers a chance to see how the trailers for these piece use music and sound—using pitch make the pitch.

With 94% on the Tomatometer and a corresponding 92% audience score, music documentary Beastie Boys Story is clearly resonating with critics and fans alike. The Spike Jonze-directed live documentary (who directed many of the Beasties’ music videos) happens to arrive via streaming at a time when mass live music concerts are all but a faded memory; it feels particularly timely to drop a retrospective of one of the most bombastic acts to have come out of the hip hop world in the past few decades.

The zeal in the zeitgeist for all things 80s—whether Stranger Things, the upcoming Wonder Woman 1984, or the recently-released Onward—coincides with the latent interest in musicals and/or musician-centred biopics, most recently observed in the upcoming remake of 1983’s Valley Girl.

Launched to much fanfare online—in part due to the shift in marketing budget allocations necessitated by the ongoing quarantine around the world—Quibi is a new streaming service with much in the way of style. The question, however, is whether a ceiling of ten minutes per episode is enough to give the so-called “quick bites” that stack the platform with enough substance.

While not necessarily the most concerning or impactful aspects of the ongoing Coronavirus pandemic, the strident (and prudent) physical distancing measures implemented worldwide have nonetheless also impacted the film and television industry in a profound way.

Films such as Pixar’s latest, Onward, have been granted startlingly short windows from theatre to screen, having made the jump to Disney Plus in about a month. Elsewhere, films like Artemis Fowl (originally due May 29th) are skipping theatres completely, instead bolstering this year’s Disney Plus release schedule; higher-visibility franchises such as Mulan and Black Widow are being pushed to later in the year.

From Alan Yang (Master of None) comes Tigertail; due on Netflix April 10th, the upcoming feature focuses on a Taiwanese factory worker’s move stateside. It’s an intergenerational drama—Grover (Tzi Ma) moves stateside and grows up unsure of this decision, having left his love and home in Taiwan. His daughter, Angela (Christine Ko), appears to be going through a parallel struggle.