Netflix has unveiled the first official trailer for My Oxford Year, the adaptation of Julia Whelan’s bestselling novel, bringing an emotionally rich story of ambition, romance, and self-discovery to the screen. Starring Ella Hunt as Anna Alcott, a rising political star from the U.S. who earns a coveted Rhodes Scholarship, the film follows her journey across the Atlantic to Oxford University—only to find more than she bargained for.

Set against the dreamy backdrop of gothic spires and candlelit libraries, Anna’s carefully mapped-out future is disrupted when she meets Jamie Davenport (played by Leo Woodall), a charming and elusive local with secrets of his own. Their whirlwind romance is laced with wit, emotional candor, and a deeper exploration of what it means to live fully—even if briefly.

Directed by So Yong Kim (Lovesong, Treeless Mountain), My Oxford Year blends heartfelt drama with lush visual storytelling. The trailer teases tearful phone calls, long walks through misty courtyards, and the emotional stakes of balancing ambition with vulnerability. As Anna is forced to choose between a future she’s always dreamed of and a present she never expected, My Oxford Year promises to be a tearjerker in the vein of Me Before You or One Day.

The film premieres globally on Netflix this fall.

Paramount Pictures has dropped the first official trailer for The Naked Gun, a reimagining of the beloved Zucker-Abrahams-Zucker comedy series—this time with Liam Neeson stepping into the gumshoes of bumbling detective Frank Drebin. Directed by Akiva Schaffer (Popstar: Never Stop Never Stopping), the 2025 update leans hard into the original’s legacy of ridiculous set pieces, deadpan deliveries, and sight gags that fly faster than bullets.

Pamela Anderson co-stars as Vicki, a sultry presence caught in Drebin’s mess of mishaps, while a supporting cast filled with comedy veterans and fresh faces rounds out the ensemble. The trailer opens with a dramatic voiceover and a montage of crime-fighting tropes, only to derail into toilet humor, pratfalls, and Neeson’s hilariously dry take on physical comedy. He may be best known for brooding thrillers, but here, Neeson’s straight-faced commitment to chaos makes him an unexpectedly perfect Drebin.

With slick visuals, high-budget action gags, and an updated tone that nods to everything from Airplane! to Brooklyn Nine-Nine, The Naked Gun reboot aims to revive the spoof genre with sharp production and even sharper silliness. It hits theaters later this year, just in time to remind audiences that comedy can still be loud, dumb, and deliriously fun.

Cinema Conservancy has unveiled the first trailer for VIDEOHEAVEN, a new documentary essay directed by indie auteur Alex Ross Perry (Her Smell, Listen Up Philip) and narrated by Maya Hawke. The film is a kaleidoscopic journey through the birth, boom, and psychological hold of the video rental store era—stitched together from hundreds of archival sources, including old TV commercials, VHS covers, in-store footage, and clips from blockbuster films. Edited by Clyde Folley, VIDEOHEAVEN turns nostalgia into narrative, exploring how these once-ubiquitous spaces shaped moviegoing, taste, and the analog ritual of discovery.

More than just a look back, Perry’s film interrogates the emotional and cultural residue of the rental boom—its promise of choice, its capitalist contradictions, and its lingering grip on generations of cinephiles. Hawke’s narration offers a dreamy, philosophical lens on an American phenomenon that now exists mostly in memory. At once melancholic and exuberant, VIDEOHEAVEN isn’t about the death of physical media—it’s about the life it once gave us.

In a brief but stylish teaser, Netflix confirms Wake Up Dead Man: A Knives Out Mystery as the official title of Rian Johnson’s third film in the franchise. Daniel Craig returns as Southern detective Benoit Blanc, this time teasing a “most dangerous case yet.” The title is revealed via a sleek monochrome title card, accompanied by haunting music and ominous voiceover from Blanc himself.

While plot details remain tightly under wraps, the teaser’s tonal shift suggests a darker, more suspenseful entry than its predecessors. Wake Up Dead Man follows Knives Out (2019) and Glass Onion (2022), continuing Johnson’s acclaimed whodunit series with a fresh ensemble cast and a new mystery set in an undisclosed location. Filming has already begun with a confirmed cast that includes Josh O’Connor, Cailee Spaeny, Andrew Scott, and Kerry Washington.

Rian Johnson once again writes and directs, reuniting with his longtime producing partner Ram Bergman. With a 2025 release window officially on the calendar, Netflix is building anticipation for what could be the most unpredictable Knives Out installment yet.

Architecton, directed by acclaimed Russian filmmaker Victor Kossakovsky (Gunda), is not your typical documentary. Through mesmerizing imagery and a minimal, almost sacred soundscape, the trailer introduces a film that functions less like a traditional narrative and more like a cinematic prayer—one that reflects on the ephemerality of civilizations through the lens of stone, steel, and silence.

Shot across historic and decaying architectural landmarks from Syria to Russia to Italy, Architecton seeks to answer a deceptively simple question: what remains when we are gone? With no voiceover and minimal dialogue, the film is instead driven by its striking visuals and elemental score—glimpses of bombed-out buildings, monumental ruins, and haunting manmade structures framed with surgical precision.

The trailer emphasizes the grandeur and fragility of human ambition, where architectural marvels become archaeological ghosts. Kossakovsky’s camera treats buildings as living organisms—breathing, aging, and dying. As with his previous work, the film is composed with reverence for image and rhythm, and appears designed to provoke not explanation, but reflection.

Premiering at the 2024 Venice Film Festival to critical acclaim, Architecton is now set for limited U.S. theatrical release via A24 later this summer. It promises to be a cinematic experience as much about philosophy and perception as it is about design.

Focus Features has dropped the first official teaser for Bugonia, the latest genre experiment from director Yorgos Lanthimos, following his Oscar-winning Poor Things. This time, the acclaimed auteur adapts the cult 2003 South Korean film Save the Green Planet!, reimagining it through his surreal, deadpan lens.

Bugonia stars Jesse Plemons and Emma Stone as two conspiracy theorists who kidnap a corporate CEO (Willem Dafoe), convinced he’s an alien planning to conquer Earth. What follows is a darkly comic descent into delusion, paranoia, and the absurd theater of human behavior.

The teaser is both eerie and eccentric—sterile laboratories, insectoid visuals, interrogation set-pieces, and pitch-black humor abound. Lanthimos leans into his trademark tonal tightrope: somewhere between unsettling sci-fi and existential satire. Stone, continuing her striking run of collaborations with the director, plays it coolly detached, while Plemons spirals through wild-eyed obsession.

Visually meticulous and thematically loaded, the film seems poised to dissect late capitalism, human fear, and the dangers of unchecked belief systems. Featuring a supporting cast that includes Margaret Qualley, Hong Chau, and Mamoudou Athie, Bugonia promises to be both profoundly weird and piercingly relevant.

The film opens in theaters this October, distributed by Focus Features.

Angel Studios has released the official trailer for Green and Gold, a stirring sports drama that blends small-town football with themes of personal redemption and spiritual awakening. The film follows a young quarterback on the cusp of stardom, grappling with the weight of expectations, fractured relationships, and the search for identity beyond the field.

As the trailer opens, we’re introduced to the high-stakes world of Texas football—a crucible of talent, pressure, and community pride. But beneath the bright lights and roaring crowds, Green and Gold is a story about the challenges of growing up and growing inward. When tragedy strikes, the protagonist must reevaluate what truly defines him: fame, victory, or faith.

Directed with an intimate lens and underscored by a soaring score, the trailer teases a visually rich film filled with emotionally charged moments and grounded performances. From locker room pep talks to quiet scenes of reflection, the story promises both athletic drama and spiritual transformation.

Angel Studios continues its mission to deliver uplifting, values-driven entertainment. Green and Gold looks poised to follow in the footsteps of recent faith-forward successes, speaking to audiences looking for meaning amid adversity.

The film is set for release later this year in select theaters.

In the official trailer for Relay, Bleecker Street teases a high-stakes psychological thriller led by Oscar-nominee Riz Ahmed as Tom, a professional negotiator known as a “relay.” His job: neutralize hostile ransom deals with poise, precision, and zero emotional involvement. But when his next job pairs him with a mysterious client played by Lily James, the mission becomes far more personal—and far more dangerous—than he anticipated.

Directed by David Mackenzie (Hell or High Water), the trailer positions Relay as an elegant fusion of slow-burn suspense and international intrigue. We watch as Tom maneuvers between luxury hotels, surveillance rooms, and darkened corridors, his calm unraveling with each cryptic twist. As James’ character enters the frame, layers of misdirection and double-blind allegiances begin to surface. Her performance walks a fine line between victim and accomplice, while Ahmed channels quiet intensity into a man trained to suppress every instinct—except survival.

Visually, Relay feels composed and quietly paranoid. The cinematography echoes the cool tension of Michael Clayton or Tinker Tailor Soldier Spy, favoring greyscale interiors and cold cityscapes. The orchestral score pulses beneath the surface, building dread without spectacle. The trailer suggests a film more interested in dialogue and mind games than explosions—a cat-and-mouse story told through whispers, glances, and withheld truths.

Bleecker Street will release Relay in select theaters starting September 6, 2025.

The yellow brick road leads to a reckoning in the newly released trailer for Wicked: Part Two – For Good, the climactic second chapter of Jon M. Chu’s adaptation of the Broadway phenomenon. Picking up where Part One left off, this installment promises soaring stakes and deeper emotional currents as Elphaba (Cynthia Erivo) embraces her destiny, Glinda (Ariana Grande) grapples with legacy, and the land of Oz teeters on the edge of revolution.

Set to the haunting reprise of “For Good,” the trailer delivers both visual spectacle and a more solemn emotional weight. We see Elphaba’s transformation into the so-called Wicked Witch of the West become complete—black hat, broomstick, and all—as she flies into legend. Grande’s Glinda, meanwhile, steps fully into her public persona, tasked with shaping the narrative that history will remember. Sweeping shots of the Emerald City, an uprising of Ozians, and chilling glimpses of Madame Morrible (Michelle Yeoh) and The Wizard (Jeff Goldblum) point to a final showdown drenched in political manipulation, personal sacrifice, and magical fallout.

Jon M. Chu’s direction brings more gravitas this time around, matching the intimacy of the musical’s final act with the grandeur of a Hollywood fantasy epic. Newcomers like Jonathan Bailey as Fiyero and Marissa Bode as Nessarose return to complete their arcs, while lush costume design and thunderous orchestration hint at a finale filled with both heartbreak and catharsis.

Wicked: Part Two – For Good hits theaters November 26, 2025, closing out the saga that redefined Oz for a generation.

Prime Video has unveiled the first official teaser for The Terminal List: Dark Wolf, a gritty and brutal expansion of its hit military-conspiracy series. Spun off from the original Terminal List starring Chris Pratt, this new installment follows fan-favorite character Ben Edwards—played by Taylor Kitsch—in a standalone origin story filled with betrayal, bloodshed, and black ops reckoning.

Clocking in at just over a minute, the teaser is terse, muscular, and drenched in tension. With a brooding voiceover and flashes of kinetic violence, it sets the stage for a darker, more psychological chapter. Kitsch, stripped of Navy SEAL idealism and grappling with internal war wounds, is shown navigating shadowy corridors, desert landscapes, and clandestine kill missions. We glimpse glimpses of CIA operatives, shattered alliances, and covert operations with unclear allegiances—all backed by a growling synth score and low-lit cinematography that mirrors his descent into moral gray zones.

Notably, Dark Wolf appears more intimate and internal than its predecessor, trading large-scale gunfights for something moodier and more cerebral. There’s a heavy emphasis on psychological warfare, loyalty, and trauma, positioning Ben Edwards not as a sidekick but as a haunted protagonist whose choices ripple into the broader universe of The Terminal List.

Created by Jack Carr and executive produced by Chris Pratt and Antoine Fuqua, The Terminal List: Dark Wolf premieres exclusively on Prime Video September 5.

New Line Cinema has released the second official trailer for Weapons, the highly anticipated follow-up from Barbariandirector Zach Cregger. Leaning even deeper into psychological horror and narrative experimentation, Weapons assembles an ensemble cast led by Pedro Pascal, Renate Reinsve, and Charles Melton in what appears to be an ambitious, time-bending exploration of dread, grief, and violence across generations.

The trailer begins with disjointed snapshots: a body discovered on a rural highway, an anxious teen in a suburban home, and a fragmented monologue about “echoes that don’t fade.” As with Barbarian, Cregger plays with chronology and shifting perspectives. Pedro Pascal appears as a grieving father trapped in a Kafkaesque loop of paranoia. Renate Reinsve (The Worst Person in the World) seems to anchor another thread, possibly linked to a suburban conspiracy. Meanwhile, Charles Melton’s character—bloodied and shaking—repeats the line, “They’re still watching,” as static overtakes the screen.

Visually, the trailer blends shadowy interiors with stark outdoor dread—small-town Americana rendered uncanny. There are flashes of surveillance, cult iconography, and what seems to be a supernatural presence haunting the timelines. The tone echoes films like It Follows and Donnie Darko, but filtered through Cregger’s distinct blend of social unease and genre deconstruction.

The final moments of the trailer deliver a chilling crescendo: a child whispering into a walkie-talkie, a man vanishing mid-frame, and a series of home videos that suggest whatever Weapons is, it’s also deeply personal. With a screenplay shrouded in secrecy, early buzz indicates that this could be Cregger’s breakout as a singular voice in horror—an ambitious swing that may redefine what mainstream genre films can accomplish.

Weapons premieres in theaters September 27, distributed by New Line and Warner Bros.

Paramount has released the official trailer for Roofman, a darkly comedic and suspense-laced true crime drama directed by Derek Cianfrance (Blue Valentine, The Place Beyond the Pines). Based on the unbelievable real-life exploits of Jeffrey Manchester, the film stars Channing Tatum as the charming yet troubled ex-Army Ranger who made headlines by robbing McDonald’s restaurants via their rooftops and hiding out for months in a Toys “R” Us undetected.

The trailer opens with an aerial shot of suburban Americana, underscored by a sly voiceover that hints at Jeffrey’s double life. After a string of inventive robberies, he lands behind bars—only to escape and take up residence inside a toy store, navigating its air ducts and surveillance systems like a suburban phantom. But his criminal ingenuity takes an emotional turn when he meets Leigh (Kirsten Dunst), a single mother whose warmth draws him toward a second chance at life—one complicated by the lies he must keep buried.

As Jeffrey’s world begins to unravel, Roofman plays with tonal shifts: part cat-and-mouse thriller, part offbeat romance, and part character study of a man trapped between reinvention and recapture. The film’s visual style blends 2000s mall culture and late-capitalist malaise with Derek Cianfrance’s signature intimacy—lingering close-ups, handheld tension, and a melancholy hue that sharpens the surrealism of it all.

Rounding out the cast are Shea Whigham as the obsessive detective on Manchester’s trail, and young newcomer Will Riggins as Leigh’s son, who slowly uncovers the truth about his mother’s new boyfriend. With a screenplay that layers suspense with emotional resonance, Roofman offers a haunting look at loneliness, reinvention, and the absurdities of the American Dream.

Premiering August 29 in select theaters before expanding nationwide through Paramount Pictures.

A24 has unveiled the first trailer for Eddington, Ari Aster’s latest and most grounded work to date. Known for Hereditary, Midsommar, and Beau Is Afraid, Aster trades existential horror for real-world unease in this politically charged Western set during the early days of the COVID-19 pandemic. Set in the remote town of Eddington, New Mexico, the film follows Sheriff Joe Cross (Joaquin Phoenix) and Mayor Ted Garcia (Pedro Pascal) as their opposing worldviews push the community to its breaking point.

From its opening moments, the trailer leans into tension and visual symbolism. A red-lit stare-down between Phoenix and Pascal through a rain-streaked window sets the tone—one of suspicion, division, and moral paralysis. Darius Khondji’s cinematography captures the stillness of lockdown life with arid palettes and hauntingly empty public spaces, while Bobby Krlic and Daniel Pemberton’s score adds a layer of ambient dread.

The ensemble includes Emma Stone as Louise Cross, the sheriff’s disillusioned wife, and Austin Butler as Vernon Jefferson Peak, a charismatic cult leader who fuels the town’s spiritual confusion. As misinformation and mistrust take root, Eddington becomes a chilling microcosm of America in crisis.

Glimpses of news clips, protests, and political speeches ground the drama in historical reality—from lockdown measures to election anxiety. Aster’s filmmaking resists spectacle, opting instead for quiet dread and internal collapse. With muted dialogue, long silences, and mounting psychological pressure, Eddington trades shootouts for standoffs and delivers a uniquely claustrophobic portrait of a country at war with itself.

The film opens in theaters July 18 ahead of a wider A24 rollout.

The official trailer for Project Hail Mary, directed by Phil Lord and Christopher Miller, offers a gripping glimpse into humanity’s last hope. Ryan Gosling stars as Ryland Grace, a scientist who wakes alone on a spacecraft with no memory of the mission—and the fate of Earth hanging in the balance.

Built from Andy Weir’s bestseller (The Martian), the film follows Grace as he pieces together his purpose among the stars. Brief flashes reveal a looming cosmic catastrophe and a looming alien ally that could be key to saving Earth. Scenes aboard the vessel highlight intense, claustrophobic atmosphere—rusted metal corridors, soft lighting, Gosling’s weary determination.

The trailer cleverly balances epic ambition with intimate stakes: Gosling drifting in zero gravity, executing precision experiments under pressure, and confronting the unknown. With Hans Zimmer’s score swelling in the background, the director duo blend scientific rigor and emotional resonance. Hinting at humor, sacrifice, and wonder, the footage promises a thrilling ride that’s both cerebral and cinematic.

Project Hail Mary lands in theaters on March 15, 2026—just in time to launch a year of sci-fi blockbusters.

Based on an unbelievable true story, Roofman follows Jeffrey Manchester (Channing Tatum), a former Army Ranger and struggling father who becomes a folk legend by robbing McDonald’s restaurants—through their rooftops. His unconventional methods and obsessive neatness earn him the media moniker “Roofman,” and the film leans into his bizarre duality: a meticulous thief with manners and a moral code.

Directed by Derek Cianfrance and produced by Paramount Pictures, the trailer sets the tone with muted Americana visuals, ironic needle drops, and a surreal blend of suspense and dark humor. After escaping prison, Manchester secretly lives inside a North Carolina Toys “R” Us for six months, surviving undetected as he plans his next move. But when he falls for Leigh (Kirsten Dunst), a divorced mother drawn to his quiet charm, his carefully constructed double life starts to crack.

Tatum leads with subdued magnetism, crafting a performance that’s more melancholic than manic. Dunst brings nuance to Leigh, a woman caught between trust and instinct. Pedro Pascal, John C. Reilly, and Michael Cera round out a supporting cast that adds off-kilter dimension to an already surreal true crime tale.

As the FBI closes in, the film turns into a tense, character-driven cat-and-mouse story—with flashes of Coen Brothers-style absurdity. Roofman isn’t just a heist film. It’s a meditation on loneliness, reinvention, and the ways myth can mask desperation.

Set to premiere in select theaters September 20, Roofman might just be fall’s most unlikely crowd-pleaser.

Marvel Studios has released the final trailer for The Fantastic Four: First Steps, the highly anticipated relaunch of one of its most iconic superhero teams. Arriving in theaters July 25, the film marks a cosmic reset for the franchise and introduces audiences to a younger, sharper, and more emotionally complex version of the quartet.

Directed by Matt Shakman (WandaVision), the trailer highlights a stylish origin story packed with visual flair and narrative ambition. Reed Richards (Joseph Quinn), Sue Storm (Vanessa Kirby), Johnny Storm (Rudy Pankow), and Ben Grimm (Ebon Moss-Bachrach) gain their powers not through space travel, but via an experimental gateway to another dimension—teasing multiversal connections that could tie directly into Avengers: Secret Wars.

The footage leans into character-driven storytelling: Reed’s brilliance is burdened by guilt, Sue seeks control over her identity, Johnny’s impulsive heroism masks insecurity, and Ben—“The Thing”—grapples with physical transformation and emotional isolation. All of it is set against the rising threat of Annihilus, a fan-favorite villain from the Negative Zone, brought to life with a menacing flourish.

From period-inspired production design to the synth-heavy score nodding to 1980s sci-fi, First Steps looks poised to reinvigorate the franchise by embracing both intimacy and spectacle. This isn’t just about saving the world—it’s about redefining family in a world on the edge of collapse.

The legacy of Downton Abbey reaches its final chapter as Focus Features debuts the official trailer for Downton Abbey: The Grand Finale, the concluding installment of the beloved British period drama. Returning to the grandeur of Highclere Castle, the trailer sets the stage for a sweeping conclusion filled with romance, revelations, and the enduring complexities of class and family.

Set in the early 1950s, the film finds the Crawley family grappling with a rapidly changing world while preparing for one final grand occasion—an event that will bring old secrets to light and push the family to confront what the future holds for the estate and their legacy. Michelle Dockery, Hugh Bonneville, Elizabeth McGovern, Maggie Smith (in archival form), and more reprise their roles, bringing heart and gravitas to a series that has defined a generation of period storytelling.

Director Simon Curtis (Downton Abbey: A New Era) returns behind the camera, with creator Julian Fellowes penning what appears to be a lovingly crafted farewell. From candlelit dinners to whispered confessions in marble halls, The Grand Finale trailer teases a return to form—familiar, yes, but brimming with nostalgia, elegance, and the emotional weight of saying goodbye.

Splitsville has officially entered the chat—and it’s bringing scorched-earth comedy with it. Directed by Zoe Lister-Jones, this Redband trailer unleashes a hilariously unfiltered look at love, loss, and the all-out warfare of modern relationships. Glen Powell and Samara Weaving star as a couple in the middle of a contentious split who are unexpectedly invited to an experimental reconciliation retreat. The catch? They have to survive a week of forced intimacy, intrusive group therapy, and a house full of equally dysfunctional couples… or forfeit everything in the divorce.

From tequila-fueled confrontations to therapy sessions that spiral into chaos, the trailer teases a film that blends high-concept comedy with emotional stakes. Lister-Jones—who also co-wrote—channels the spirit of Forgetting Sarah Marshall and Couples Retreat but gives it a 2025 twist: dirtier, darker, and defiantly funnier. It’s not about getting back together—it’s about figuring out how to burn it all down with style.

With an ensemble cast that includes D’Arcy Carden, Manny Jacinto, and Michaela Watkins, Splitsville looks like the breakup comedy we didn’t know we needed—one that goes for the jugular, then offers a hug.

Based on the novel by Jordan Harper, She Rides Shotgun is a brooding, emotionally-charged action thriller that follows Nate (Taron Egerton), a newly released convict forced to protect the daughter he barely knows from the gang he betrayed. When 11-year-old Polly (Ana Sophia Heger) becomes the target of a violent vendetta, Nate has no choice but to flee across the American Southwest with her riding shotgun.

Directed by Smriti Mundhra, the trailer paints a raw, dusty portrait of survival, vengeance, and reluctant redemption. Egerton’s portrayal of Nate is intense and layered, while Heger holds her own as Polly—smart, wary, and slowly discovering the truth about her father. With a pulsing score, desperate shootouts, and stolen moments of tenderness, the film promises a grounded, emotionally rich ride.

From battered motel rooms to sun-scorched highways, She Rides Shotgun delivers an intimate twist on the classic crime road movie, balancing grit with gravitas. It’s part Logan, part Midnight Special, with the kind of emotional payoff genre fans crave.

Prime Video has dropped the official trailer for The Pickup, an adrenaline-charged action comedy starring Eddie Murphy, Keke Palmer, and Pete Davidson. Directed by Tim Story, the film follows a group of charming criminals who get more than they bargained for when their latest job spirals into chaos.

Murphy plays a seasoned con man who’s seen it all—until he meets Palmer’s enigmatic femme fatale. As sparks fly and betrayals stack up, the trailer teases a fast-paced blend of romance, bullets, and double-crosses, set against glossy backdrops and peppered with sharp one-liners. Pete Davidson brings his signature deadpan energy to the mix, adding a layer of absurdity to an otherwise slick thriller.

With its glossy cinematography, punchy dialogue, and a classic setup—one last job gone awry—The Pickup looks like a crowd-pleasing return to form for Murphy and a stylish summer hit for Prime Video. It’s part Out of Sight, part Ocean’s Eleven, and all swagger.

Netflix has unveiled the official teaser for Guillermo del Toro’s Frankenstein, a long-gestating passion project that fuses gothic horror with lush visual storytelling. The teaser offers only a fleeting glimpse—but its moody atmosphere and striking tableaus speak volumes. Jacob Elordi, in pale makeup and stitched scars, appears almost angelic and monstrous all at once, while Oscar Isaac’s tortured gaze hints at the story’s psychological weight.

Set against snow-drenched backdrops and flickering candlelight, the teaser leans heavily into Del Toro’s signature world-building—equal parts fairy tale and fever dream. With Mia Goth appearing briefly in period costume, and haunting narration teasing man’s ambition to “play God,” this adaptation appears primed to delve into the tragedy and tenderness that so often go missing in other versions.

Though it’s only a minute long, the teaser sets a tone that’s operatic and eerie. If the visuals are any indication, Frankenstein could be the prestige horror epic Netflix has been searching for, following in the footsteps of Del Toro’s Crimson Peak and The Shape of Water, but with even grander literary ambition.