Trailers have gotten so sophisticated lately it seems wrong not to talk about them. Take for example the 94-second teaser for the new film by Joel and Ethan Coen, A Serious Man. It’s one of the most inventive trailers of the year, maybe of the last several years. The beauty of it is that it doesn’t reveal the particulars of the plot but instead imparts us with a feeling, an impression, which may indeed prove more valuable to the undecided viewer.

It begins with the sound of a body hitting something hard, rhythmically, as if part of a jazz ensemble. The body belongs to a frazzled bespectacled man, presumably the titular character, who seems dangerously close to a nervous breakdown. As the trailer proceeds, more noises (coughs, tire screeches, the recurring line “We’re gonna be fine”) are added to the ensemble to create a symphony of angst. We can guess that the film will be about an ordinary man ungluing, and that’s all we really need to know, except of course that it’s directed by the Coen brothers and will therefore be a supremely proficient piece of entertainment. The expressionistic use of sound in this trailer suggests Joel and Ethan had a hand in editing it. A scrolling list of previous credits establishes their hipster credentials, but it seems superfluous—I’m already there.

The trailer for The Lovely Bones, Peter Jackson’s long-awaited adaptation of a best-selling Alice Sebold novel, is less original. Like many recent trailers, it is made up of three distinct movements. The first movement breezily fills us in on the details of a dreamy-eyed 14-year-old girl in a wintry suburban town. Things are almost too placid—we remain uneasy. Our discomfort is justified when we discover that the girl, Susie, is to be murdered. Accordingly, the second movement begins, one of fragrant fantasy. Susie becomes stranded somewhere in the “in-between” (cue expensive visual effects) while her murderer remains at large. The third movement takes a turn toward the melodramatic as the plot develops further—Susie’s family investigate the murder, and a second girl, I’m guessing a sister, sneaks around the killer’s house searching for clues. (A hair-raising shot: the killer springing into action at the sound of a creaking floorboard.)

The lurid plot and literary antecedent bring to mind Jackson’s own Heavenly Creatures (arguably his finest work to date) and with it the promise of accolades, although the jury is still out on this one—although some shots feel poetically right, there’s something tonally off about the trailer, as if there were several different movies in there vying for attention. Still, the preview serves its purpose—interest is aroused.