Directed by Greta Gerwig and starring Margot Robbie, Ryan Gosling, and Will Ferrell, the Barbie movie has received an aptly creative trailer campaign with a teaser that parodies 2001: A Space Odyssey, shot-for-shot. For the main trailer, Barbie opts for a somewhat rare approach in trailer music: rather than take pre-existing music or even leverage a score by a composer, let alone use library music, the Barbie trailer debuts a new song by pop star Dua Lipa.

As a reboot from 2016’s live action-oriented Out of the Shadows—a box office winner, if not a critical darling (like the Transformers series), Paramount is clearly shifting gears with Ninja Mayhem in response to current trends in animation. Specifically, the film adopts an art style arguably popularized by Into the Spiderverse, with its low-frame rate, faux-claymation aesthetic. Coupled with a snippet of A Tribe Called Quest’s “Can I Kick It?”, it’s clear from the outset that this iteration of Teenage Mutant Ninja Turtles is meant to lean on aural and visual charisma, drawing in younger and even its more 80s-vintage fanbase in alike.

Premiering in UK cinemas this week, Have You Got It Yet takes a closer look at the life and times of Syd Barrett, best known as one of the original members of Pink Floyd. As the story goes, Barrett was ousted from the band in 1968, as he was suspected to be experiencing mental illness and abusing psychedelic drugs.

An adaptation of David Grann’s 2017 book Killers of the Flower Moon: The Osage Murders and the Birth of the FBI, the film recounts the killing of several members of the Osage Nation in 1920s Oklahoma over the discovery of oil on their land. Killers is, notably, the sixth feature film collaboration between Leonardo DiCaprio and Martin Scorsese, with the most recent being The Wolf of Wall Street from 2013. Having received a nine-minute standing ovation at its Cannes world premiere, it suffices to say that this long-awaited collaborative follow-up promises to be well worth the wait.

The steady turn from summer blockbuster trailers to holiday release window fare continues with Warner Bros’ drop for the first trailer for Dune: Part Two this past week. With 2021’s first foray earning well over twice its budget, it’s certain to be a winner in the studio’s roster this year; moreover, unlike its predecessor, Part Two will enjoy an exclusivity window in theatres before presumably making its way to Warner’s streaming offering, to be rebranded as MAX.

As much as summer blockbusters are now around the corner—Guardians of the Galaxy Vol. 3 opens this week—film trailers have already begun to focus on the all-important holiday season, surely in an effort to capitalize on the similarly sizeable summer theatre-going public. A key case in point would be Disney’s latest animated effort, a film that pays homage to the company’s heritage on the occasion of its 100th anniversary. In keeping with this, even the trailer for the film exhibits some stylistic borrowings from trailers of old—and to great effect.

Since its re-introduction to the hearts, minds, and ears of viewers in 1996, the Mission: Impossible theme has become a cultural touchstone for the public, and more than likely this generation’s most famous tune in the unusual 5/4 meter. Thus it helps ensure an air of suspense to any scene it graces. It would only make sense, then, that the teaser for Dead Reckoning (the seventh entry in the franchise, for those counting) would opt to build on this popular theme, while still offering something new. As such, the very possible mission here is to tread an admittedly thin line between playing on nostalgia and creating a legitimately new and different entry to the series.

As we inch into the summer blockbuster season, summer-bound trailers are starting to coincide with a first look at this holiday’s releases. Chief among these is undoubtedly The Marvels, the third and final release of 2023 in the fifth phase of the Marvel Cinematic Universe, which as a franchise still shows little sign of waning public interest.

While perhaps difficult to believe, it has now been six years since we covered the original trailer for The Legend of Zelda: Breath of the Wild, a game which would go on to win the coveted Game of the Year award and has accumulated over 29 million unit sales. Part of the reason for its success is undoubtedly its cinematic presentation, which is fairly standard for so-called “triple-A” titles on competing consoles, but still relatively rare for Nintendo IPs. (Case-in-point: The success of the television adaptation for famed PlayStation series The Last of Us, often relying on one-for-one recreations of its scenes.)

Queen Charlotte: A Bridgerton Story is a prequel in the Bridgerton universe that explores the queen’s relationship with King George at its beginning. A fast-paced, energetic score opens the trailer as we see Charlotte apprehensive and asserting boundaries around her arranged marriage with King George. The instrumentation (as we’ll hear later in the trailer) is congruent with the late 18th century setting, with a strong strings presence accompanied by epic percussion. A major key theme keeps things sprightly, while interest is retained through the unusual 5/4 rhythm (whereas most music keeps to a steadier three or four beats per measure). Notice also at 0:25 the tonal modulation just when the title card comes in touting the new series’ pedigree (… “who brought you Bridgerton)”).

The studio A24 has been on a tear lately, sweeping the Oscars and winning best director and best picture in the same year—having previously won best picture in 2017 for Moonlight. If the trailer for Beau Is Afraid in any indication, that streak of quality for art film fans everywhere appears poised to continue. Directed by Ari Aster and starring Joaquin Phoenix, the titular character faces the harrowing task of facing his greatest fears after the sudden death of his mother.

Since 2010’s Alice in Wonderland, Disney has been on a fairly consistent stint involving live action remakes of its most celebrated animated releases; in 2023, it’s now time for Peter Pan to receive such treatment.

Created by Donald Glover and Janine Nabers, the Amazon Prime series Swarm follows Dre (Dominique Fishback) as she becomes obsessed with a fictional pop star and is led to a dark place through her obsessive behaviour.

Based on a bestselling New York Times book by Eve Rodsky, Fair Play is a documentary produced by Reese Witherspoon’s Hello Sunshine media company that looks deeply at the topic of inequity among genders in domestic work.

As is tradition, the recently passed Super Bowl (the 57th, for those keeping score) brought a bevy of fresh trailers anticipating the summer blockbuster season. Among the most interesting of these was Warner Bros’ latest effort in the DC cinematic universe, The Flash. Despite having enjoyed a small-screen run in the Arrowverse that covers nine seasons and is still counting, this would be Barry Allen’s first foray in a stand-alone feature film.

Directed by Neil Jordan and starring Liam Neeson (Schindler’s List; Star Wars: Episode I), Marlowe is a 1930s-style noir thriller set in Los Angeles. The soundtrack is original, composed by various artists (not listed on the credit card), and the trailer leverages this to great effect. After the obligatory micro-teaser we hear a track by Jon Batiste, “The Light Shines Brightest in the Dark”, with an overall sound that clearly hearkens to earlier jazz, effectively setting the tone of the film as a period piece.

Written and directed by Nida Manzoor, Polite Society is a British action comedy following a stunt woman in training who decides she must act to stop her sister’s wedding, as her sister drops out of art school to get engaged.

Starring Ramón Rodríguez and based on the bestselling book series of the same name, Will Trent is a new addition to ABC’s winter lineup. Featured in its trailer is a cover by Superhuman of the enduring 1970 hit All Right Now, originally by Free.

A more unique entry in the field of musical biopics, Chavalier tells the story of composer Joseph Boulogne, Chevalier de Saint-Georges. While some productions such as Bridgerton employ colour-conscious casting for representation, here the story is more akin to a story such as Concrete Cowboy. Namely, just as Concrete Cowboy dispelled myths wrought by Hollywood about the racial identity of cowboys, Chevalier seeks to correct the perception of classical music composers as an elitist white tradition that begins with Bach and ends with Beethoven. It grapples with the fact that there were—and are—many composers in the Western classical tradition of varied backgrounds, such as with Boulogne’s Creole heritage.

As one commenter said on the YouTube video above, “Christopher Nolan really is the brand itself”. As the trailer for Oppenheimer has racked up 37 million views over the past month for this video alone, for a trailer focusing on the inventor of the atom bomb, there’s a kernel of truth to this observation.