20. Inherent Vice
This Inherent Vice trailer is great to look at but to really get at the heart of why it’s a cut above the rest you need to think about sound. The promos for Paul Thomas Anderson’s films are always excellent, but the way this one flawlessly intercuts between a range of conversations scattered throughout the film in ways that are highly entertaining but ultimately opaque—who is literally anyone besides Doc? What the hell is going on?—makes for a trailer that promises a rollicking good time while giving very little away. (Ciara Wardlow)
19. The Lighthouse
The trailer for Robert Eggers’ second feature clocks in at under two minutes, yet tells you everything you need to know about the vivid, grime-covered seaside descent into madness that is The Lighthouse. In stark black-and-white with a narrow aspect ratio, the trailer captures not only the story’s distance from our modern, landlocked theater-going experience but also the bravado and commitment of its two central performances. While a shot of Robert Pattinson’s wide-eyed fear underscores the more surreal elements of the thriller, Willem Dafoe’s spoken refrain of “Why’d ya spill your beans?” weaves into the fabric of the trailer’s complex sound design. Sound and music are two of the film’s strongest suits, and the trailer’s aural buildup–which also includes the hypnotic sounds of the lighthouse, a snippet of ominous score, and an increasingly loud and frenzied sea shanty–makes it a mood-soaked standout. (Valerie Ettenhofer)
18. Gone Girl
There’s nothing like a great, twisty mystery, and this Gone Girl trailer promises to deliver the goods—also, it’s David Fincher, which is basically the movie equivalent of “satisfaction guaranteed” label. It’s a slick, stylish, and perfectly polished promo, but its ultimate genius is one only made apparent after seeing the actual film: while on the surface it feels like it might fall into the common trailer trap of giving away too much plot, the twists revealed or otherwise hinted at throughout the trailer are just the tip of this gloriously convoluted iceberg. When it comes to trailers, underselling is ultimately far more satisfying than overselling, and this one undersells the wild ride actually on offer the perfect amount. (Ciara Wardlow)
17. Magic Mike XXL (Teaser)
The first Magic Mike is a good movie, but perhaps not what many imagined they were in for when they bought a ticket for a male stripper movie starring Channing Tatum. No, Steven Soderbergh is too invested in people’s souls and whatnot for something like that. But then there’s Magic Mike XXL. It’s still got plenty of heart, but while the first film’s thirst trap is of the bait-and-switch variety, the sequel knows exactly who is buying tickets, why they are buying them, and is perfectly happy to meet those expectations. It also wants to make sure you know that it is prepared to deliver on this front, which is where this trailer comes in, a teaser that is a major tease in every sense of the word—and gloriously shameless about it. The cheeky “you’re welcome” at the end is an excellent touch. (Ciara Wardlow)
16. Us
There was a whole week after the trailer for Jordan Peele’s Us dropped during which I was like, “Don’t talk to me about anything unless it’s how perfectly the beat of the ‘I Got 5 On It’ remix matches every detail of this trailer down to the way Winston Duke taps a baseball bat against his hand.” Honestly, that sentiment is still true, so let’s talk about it: the horror genre has had a long and often rocky history when it comes to portraying Black characters, and the way composer Michael Abels’ soundtrack mixes a classic, well-recognized hip hop song with the eerie, tension-filled notes of a horror score is nothing short of revolutionary. There’s a lot more to love about the trailer, which is thrilling and strange and filled to the brim with now-iconic imagery from Peele’s sophomore film, but above all else, it’s the bold, confident, and infectious “I Got 5 On It” redux that announces the arrival of the powerful new auteurist voice on the scene. (Valerie Ettenhofer)
15. The Handmaiden
If you didn’t spend a fair chunk of 2016 with “Red Sex” by Vessel stuck in your head because of this trailer, I can’t help but think you missed out. Sure, the trailer and should still be appreciated now — and used as a how-to for others to understand how to entice without giving a plot away — but watching and rewatching the trailer before the film’s release, with no other context, was enrapturing in unmatched ways. The trailer draws you by grabbing you by the neck and not getting you go. The sharp cutting offers quick glances at the film’s erotic and romantic exploits; it’s so precise that it feels inherently voyeuristic, as if we’re seeing glimpses of something forbidden. The trailer is magnetic and stirring, a promise of something thrilling and unexpected. It’s especially nice that the film delivered. (Anna Swanson)
14. Mission: Impossible – Fallout
I don’t know another trailer that sinks into your bones like this perfectly-pitched festival of nervy energy. The Fallout trailer begins with a series of movements more than scenes, and considering this could have been the last Mission: Impossible film, a truly poignant assertion that they were going to make it count. Once the twang of “Radioactive” begins, it brings with it just a cacophony of cool shit. Not only are there spectacular character reveals (Cavill? Monaghan? BASSETT??), but you can feel the crunch of Cruise’ ankle, hear the revving of the motorcycle, and see the atmospheric impact of Cavill “loading” his biceps. It’s such a tactile trailer experience that it’s actually kind of difficult for the movie to live up to. Fallout was spectacular for many reasons, but somehow this trailer bottles it into a 2 minute 32 second hit that I gotta have over and over again. (Margaret Pereira)
13. The Master (Teaser)
The best trailers provide enough to get audiences intrigued, yet not so much as to give away the best parts of the film. The trailer for Paul Thomas Anderson’s The Master does this better than almost any other trailer of the past decade. This two-minute clip captures the beautiful cinematography by Mihai Mălaimare Jr. and offers a taste of Jonny Greenwood’s eerie score, yet maintains a sense of strange mystery. We know Joaquin Phoenix is returning from the war and we know Philip Seymour Hoffman and Amy Adams are leading a cultish group, but why does it feel so tragic and dangerous? What are the stakes here? The best part about all of this is that the film itself is a masterclass in ambiguity, and does not provide much in the way of answers to the questions raised by the trailer. PTA always leaves us wanting more. (Angela Morrison)
12. Cold War
The Cold War trailer is a stunning showcase for the power of a minimalistic trailer. A haunting and melodic Polish song sung by Zula (Joanna Kulig, as beguiling a performer as I’ve seen in my life) is all that is present on the soundtrack. We’re offered brief glimpses of the film’s central romance but very little is explained in terms of plot. The trailer eschews narrative enticement and instead lures us in with the promise of mood. All we know is this is a love story, a smoky, atmospheric, soul-stirring, and surely doomed love story. The rich and gorgeous black and white cinematography, courtesy of Łukasz Żal (who should have won the Oscar for it), shines even when removed from the full context of the film. On reflection after seeing the movie, the trailer is even more brilliant for the way its elliptical editing places the film’s romance with the span of a song; it’s over so soon, and yet within that time tells us everything we need to know. (Anna Swanson)
11. A Star Is Born (Trailer #1)
The first trailer for Bradley Cooper’s A Star is Born adaptation is not only better than the movie itself, but better than several other award bait movies that came out last year as well. It’s a soaring, instantaneously emotional experience that lays waste to your heart through the clever employment of Lady Gaga’s incredible performance of “Shallows.” The song itself is powerful but paired with a precisely edited sneak peek of the film’s most dizzyingly emotional moments, it becomes a towering, overwhelming piece of music. After seeing it roughly a trillion times in theaters, the trailer’s evocative pull on me was so strong that I’d be in tears from the opening shot to the last one. (Valerie Ettenhofer)
Related Topics: Ava DuVernay, Christopher Nolan, David Fincher, Decade Rewind, Marvel Cinematic Universe, Paul Thomas Anderson
