The battle for the best Christmas ad 2024: which ones impress our expert panel?

No comments

From a star-laden ‘crime scene’ to Kevin Carrot making boob jokes, this year’s ads are a varied bunch. But who’s done it best?

Our judges

Neil Godber: executive strategy director, VML
Cressida Holmes-Smith: CEO, Lucky Generals
Rob Metcalfe: chairman, Richmond & Towers
Rob Sellers: founder, Rob Sellers Consulting
Nick Woods: strategy & creative director, Sunny Side Up
Jemima Bird: CEO and founder, Hello Finch

Waitrose reveal

Total score: 21
Waitrose’s second instalment of its star-studded murder mystery-style festive advert – revealing who stole the No.1 Red Velvet Bauble Dessert.

JB: I like that it’s two ads for the price of one … who doesn’t love a bogof at Christmas? Suspense, silliness, classic British overacting, it’s a decent showcase for some great Waitrose goodies. It’s a yes from me (in the pantry with a carving knife). 4/5

CHS: The acting from the star-studded cast is again as brilliant as you’d expect. If I’m honest, I was slightly disappointed that it wasn’t a more elaborate plot twist. As usual, I think the British public came up with the best answer – the cat. But, the fact that I’m expecting Agatha Christie levels of plot from a 60-second advert can only be a good thing and the dessert remains the star and the one to reunite the family at the end. 4/5

RM: It’s almost as good as part one, but heavy media rotation has destroyed some of the creative novelty of the ‘mystery’ approach, and the [spoiler alert] big ‘it was Steve’ reveal, feels a bit rushed. Having built all the other characters so effectively, they now seem underused. Still, of course, miles better than most of the festive competition. 4/5

RS: With a hard act to follow, the style and panache is still there in the conclusion to the whodunnit. But unfortunately, it’s no Usual Suspects, as we’re told that it’s Steve the Dad who has nicked the posh pudding. A hard first act to follow. 4/5

NW: I loved part one and I now love part two. The most creatively original of all this year’s ads, this ticks so many boxes: great story, great characters, great script, brilliant casting and food so good dad is willing to steal it. What’s not to love? Inspired. 5/5

Pepsi Max

Total score: 11.5
Offices and gyms are abandoned by people off to celebrate the festive holidays, but a funky remix of ‘It’s Beginning to Look a Lot Like Christmas’ kicks in, and we see Pepsi Max at the centre of the fun.

JB: The infusion of blue to re-enforce brand Pepsi at every turn – God it’s dull. People blowing off work and life so they can … erm stay home and drink Pepsi? Not a chance. Those grannies are drinking nothing but stiff sherry and eggnog. 1/5

CHS: If only it were that easy and we could all just walk out of our offices on 1 December with a Pepsi in hand. But it’s surely easier than solving world peace with a Pepsi, so perhaps we should give it a go. The re-record of a classic Christmas song plus the not-so-subtle blue branding and product placement throughout means I’m sure it’s just a matter of time before we all succumb! 2.5/5

RM: General advice to brands that think they might need a Christmas ad: you probably don’t. Not if this effort for Pepsi Max is anything to go by. It is so bland, so generic, that it could be advertising almost any food or drink. Of course offices and gyms are empty on Christmas Day. So what? Cut to a house full of mismatched people enjoying forced fun. Just think how much happier they would be if they didn’t have to drink Pepsi. 2/5

RS: The first half of this ad is promising. Feels like they are saying something new (where is everyone?), and from a strategic perspective, it’s an exercise in hardwiring distinctive assets and brand colours into just about everything. But then it all gets a bit obvious… Like someone said “we have to show the consumption occasion!”. Sometimes you have to trust your shoppers to join the dots themselves. 3/5

NW: I’m not sure what I was expecting from Pepsi on this, but I quite like it. The Wernham Hogg set-up and old-school crooning feels like it’s going to lead to a completely different brand. But there are a number of blue clues in the Bosu ball, blue punch bags, blue desk lights, then the beat drops, old school turns into a cheeky little banger and it all feels pretty Pepsi. Their audience will approve 3/5

Starbucks

Total score: 13.5
A stop-motion shopper rushes through the holiday chaos, but takes a moment with his Starbucks drink as the world slows.

JB: It’s nice. As the Christmas madness descends around us all, here’s Starbucks to calm it all down. The only piece missing is a barista fudging the name of the cup. Jemeemah? Jemimmah? Ah well, can’t have everything. 3/5

CHS: Let’s hope the customer experience can live up to the promise and the craftsmanship of the ad. My current fear is that Starbucks coffee shops go firmly into the ‘Christmas hell’ section of the story: crowded and chaotic with a long queue and your name spelt wrong, but I like the sound of calm and connection. 2.5/5

RM: Starbucks as a haven from the festive nonsense is a good idea, but they haven’t quite had the courage to go full Scrooge, so we just get somewhere that you can have your gingerbread latte in (relative) peace. Nice enough, but there’s an anti-Christmas ad waiting to be made, that could differentiate a braver brand. 3/5

RS: Starbucks are positioning themselves as the antidote to the maelstrom of Christmas chaos. The story is told nicely – with a mix of animation styles that will trigger nostalgia in parents, and get a bit of pester-power going with the kids. Broadly all very sensible, but maybe forgettable. They needed to be braver. 3/5

NW: The stop-motion creative treatment feels interesting, but its technical ingenuity will surely be lost on most. It also feels too far removed from reality… for most Brit coffee lovers, it simply isn’t an option and for brand fans, even they don’t choose it because of some mystical sense of community. Maybe this is the start of some kind of brand rebirth, Lord knows they need more than a 30-second TVC. A beginning? 2/5

Nespresso

Total score: 13
Nespresso signs up David Beckham for what looks like a heartstring tugger, until Becks’ sense of competition gets the better of him and he whips a free kick fast the frozen keeper.

JB: A charming ad. Using the power of brand Beckham it strikes a nice tone and the product looks great. It pulls us back to the utter simplicity of a good coffee, but it’s hard to believe our David hasn’t negotiated a lifetime supply of the stuff. 3/5

CHS: Nice to see David Beckham merging into George Clooney. Feels like he needs a friend though as this ‘unforgettable Christmas moment’ is a bit forgettable. And a Nespresso pod snowman’s nose is not as sustainable as a carrot, so Nespresso still needs to work on that element. 2/5

RM: Looks like David Beckham has taken acting lessons, certainly enough to get by as the king of the kitchen gadgets, given his currently running campaign for Ninja. And a non-speaking role is an advantage. It’s cute and snowy and very safe. As a gentle reminder that Nespresso exists, it’s fine. As a call to action, it’s terrible. 3/5

RS: It’s the Christmas of Beckham. If you can stick it on your kitchen counter, he’ll try and flog it to you. Given that he’s pretending to live in a different house in another ad to sell you an air fryer for another brand, I’m surprised the Nespresso people haven’t put him on the subs bench and brought back the perennial Clooney. All in all it’s a nice concept, well executed. 4/5

NW: Someone needs to tell Becks to ease up on the tweakments – frown David, frown! This is one of those awful high-budget Euro ads with a big star and no meaningful creative. I’m sure a lot of people were thrilled to get DB7 and worked hard to make this, but one has to wonder – why? The release says “the campaign aims to encapsulate the spirit of the season through a heartfelt narrative that highlights the value of moments filled with joy and laughter.” Fail. Decaffeinated. 1/5

Iceland

Total score: 11
TV host Josie Gibson stars in four-part campaign built around the tagline ‘That’s why Santa goes to Iceland’ aiming to capture the traditional festive moments most valued by customers.

JB: Great Holy Moly this is bad. I don’t want to be a party pooper but this is race-to- the-bottom-brain-cell stuff. Does the lead get called Joseph vs Josie? Is that a Christmas joke? Is that what passes for creative? Dreadful. 1/5

CHS: Points for consistency, even at Christmas, by continuing to feature Josie Gibson front and centre as well as the store, the product, plus a festive adaptation of the brand line. And points for the West Country accented rhyming couplets. But, it’s as beige as the food. 2/5

RM: It’s a throwback classic in the Iceland mould of long ago. With the production values of Acorn Antiques, but alas not the acting talent, it screams cheap! Maybe that’s the point. With a lead actress who can’t speak (the word ‘party’ gets her every time) and a stooge who looks uncomfortably like Rachel Reeves and says “Deffo Josie”, it’s an unpleasant-looking orgy of beige food and baubles. Throw in some double entendres and an outbreak of needless rhyming and the result is so bad it’s good. A post-ironic triumph. 4/5

RS: I actually don’t know why Iceland bother making a new ad each year. It’s almost always the same idea: someone with universal appeal in store, then switching to a laden table of food that looks like it’s from the 1980s (in my eyes, this is a strong compliment), plus a cheeky Santa appearance and value ‘flashes’ everywhere. Bosh! And it must work, as they always get a little boost in market share each Christmas. 2/5

NW: If it ain’t broke… this is a well-worn path for Iceland, with ITV’s likeable woman-next-door Josie Gibson taking up the mantle previously held by the yesterday’s likeable woman-next-door (Kerry Katona) and showing off a table laden with party food by brands like Greggs, Cathedral City, TGI Fridays and Harry Ramsden’s. Deals and value are front and centre, with any semblance of a creative idea entirely lacking. Not much to say. 2/5

McDonald’s

Total score: 13
Two parents take a break from hectic Christmas errands for a moment of fast-food indulgence. Their drive is transformed into a larger-than-life festive spectacle, with houses draped in ribbons, inflatable Christmas characters lining the way, and a tower block turning into a glowing Big Mac.

JB: It’s pretty thin. The real heroes of this story are the lighting and SFX teams. Oh and since when did deciding on a Maccy D’s start a rave? I always thought you went there after one… 2/5

CHS: A long-running brand platform. A well-known, catchy and relevant song choice. A recognisably true insight. A simple execution, with the product at the heart but without the need to even show the product. Complete with a real-life activation. Ticks the boxes and satisfies the needs. 4/5

RM: Not a lot of points to this. The fairy lights are fun, but the reality of a trip to McDonald’s wholly fails to live up to this hype and the credibility stretch leaves the whole thing feeling a bit feeble. The soundtrack doesn’t help either, reinforcing the dystopian horror of being lured into Maccy D’s clutches. 2/5

RS: This is brave. It’s definitely trying to find a new way to frame Christmas, and McDonalds’ role in the festive season. It’s a visual delight, it’s got a banging track. It should work, but it just doesn’t. The storytelling isn’t strong enough. You mentally switch off after the first few seconds, because you know you don’t need to give it any more time. 3/5

NW: After the complete brilliance of Fancy a McDonald’s last Christmas (huge swathes of the population all saying, actually yes) this feels a lot thinner. Is a McDonald’s a naughty, magic little gift in the busy, whirlwind of Christmas for parents? The soundtrack is a (brilliant, bangin’) grabber, and the drive to the store is pretty funky, but parents caught in the maelstrom is an oddly singular inspiration. Lacking breadth, depth and fun. 2/5

Coca-Cola

Total score: 15
With controversial generative AI advert, Coca-Cola strips the humanity out of one of the UK’s most well-known Christmas moments, but with reasonable success.

JB: Well someone had to do it: Christmas goes AI (will Santa ever be the same again?) What makes this ad isn’t the artificial intelligence but 30-plus years of emotional intelligence seeded by Coca-Cola. Controversial, sure, but people make brands and people buy (into) them. Nice going Coke – magic indeed. 4/5

CHS: Coca-Cola could have stuck to the original real thing and people would still love it. It’s a classic. Re-doing it using AI doesn’t especially fill me with joy, humanity, warmth and emotion at Christmas. It rather seems like innovation for the sake of it, and for cost efficiency. But there’s enough nostalgia for it to do the same job, no doubt. 3/5

RM: So the brief seems to be, let’s make an ad like all our other ads, but using AI so it comes out a bit worse. And throw in a few polar bears, squirrels and deer too, because it can do them quite well. What it can’t apparently do is make an ad with any cues that might appeal to the UK market so we end up with this cheesy American/international pap. But it’s AI, so woo. 2/5

RS: Let’s be honest. This is not an ‘AI advert’. Because the real, actual idea, was had by a human being approximately 30 years ago. This is an exercise in artificial filmic content delivery. And if you read the analysis by the likes of the System 1 boffins, it’s incredibly effective … because it’s not a new idea. Consistency is a powerful weapon for every brand. That said, for all the AI magic, it leaves the visual equivalent of a plasticky aftertaste. Creative artificial sweeteners. 2/5

NW: Anyone who has ever tried to create something with AI will be astonished at the quality here and I’ll wager most punters won’t be able to define any difference. People love the truck, they love the music, they can identify it immediately as being Coke and it makes them more likely to buy Coke… job done. Any criticism seems to be largely adland noise. Consistent. 4/5

KFC

Total score: 18
KFC teases the social media frenzy over seasonal Kentucky fried turkey menu items, with tongue-in-cheek response.

JB: I bloody love this from KFC. It made me laugh this year just as it did last. We do chicken. Not turkey. Chicken. We’re KFC. Channelling their cheeky social media voice, we get 30 seconds of brand power that sticks it to the naysayers and comes out stronger the other side. Love it. 5/5

CHS: I love the audacity of doubling down on the Christmas double chicken burger and in KFC’s self-belief. A great lesson in brand authenticity; it’s true to the KFC product, brand platform, tone of voice – and the fact that the customer isn’t always right if it contravenes these things. 4/5

RM: The confidence to tell your customers that they are wrong is always bracing and cleverly used here to amplify the ‘Believe In Chicken’ line, while also showcasing a festive product. Much better than McDonald’s. That oil looks like it needs changing though. 3/5

RS: Another brand being lauded for consistency – but this time they get it just right. KFC has it’s chicken-y swagger on at the moment, and that means they have licence to be forthright in their rejection of Kentucky Fried Turkey. By essentially running exactly the same ad with the inclusion of one understated, but very powerful word (“again”), they balance the expected with fresh. 4/5

NW: It was brilliant the first time around. And if consistency is as big a deliverer for brands as System1 says it is, then this should rocket to the top of this year’s charts alongside Coke because it’s exactly the same ad as last year. Confident, but repetitive. 2/5

Boots

Total score: 13
Mrs Claus – played by Lady Danbury actor Adjoa Andoh of Netflix series Bridgerton – arrives at the ‘werkshop’ to find the big guy asleep, so she and the Boots elves get to work preparing the presents.

JB: It seems like a play on leave it to the women. As fat old Santa sleeps off his hangover, Mrs Claus and the elfettes save the day. It’s obvious what they’re going for — and perhaps a shrewd demographic play — but it left me pretty cold. Unnecessarily feminist; punchy but confusingly so. Everyone knows women do it all at Christmas anyway. 1/5

CHS: Hammering home that Boots has gifts, but not only for the girls, which is hugely positive while still feeling on brand. I do think the hardworking Mrs Claus behind the lazy Mr Claus trope is a bit tired and not so positive, but Adjoa adds some welcome sass and glamour. 3/5

RM: Confected umbrage aside, it’s hard to see who Boots is trying to lure into store with this. It’s neither outrageous enough to be truly shocking (and thus properly attention grabbing) nor mainstream enough to garner widespread appeal. Everything seems slightly sour in spirit, distinctly lacking in good cheer and positive festive vibes. Boots’ Xmas ads have been consistently good of late, but this is not one of their classics. 2/5

RS: A well-trodden advertising conceit of ‘Santa’s Workshop’, but executed with energy and contemporary swagger. Excellent casting will appeal to Boots’ broad church of shoppers, and they do a good job of integrating some key products into the narrative to trigger purchase. I wonder whether it will work hard enough to specifically drive footfall to stores and sites, and if the end line “Make Magic” is anything other than generic. 3/5

NW: Boots is a quintessentially British brand which, today, means it happily embraces a broad spectrum of beauty. Its audience is pretty cool with the idea of inclusivity. So, Lady Danbury as Mrs Claus works, as does the cuteness of a bunch of ‘elfluencers’, and the Willy-Wonka-beauty-parlour setting is well done. 4/5

Greggs

Total score: 18
Nigella Lawson tells of her love for Christmas food, including the “succulent filling, creamy sauce” in Greggs’ festive bakes.

JB: Excellent. With Nigella’s sexy ol’ delivery, this is food porn for £1.50. It’s a scream and it’s all-knowing. Sure, Nigella probably died a little inside when the director yelled cut but a swift Greggs will fix that. This is for all the folks who’ll need a steak bake after the office Chrimbo party. 4/5

CHS: Is this ironic? I’m confused and I can’t decide. If not at all, then I think that’s a bit of a miss – they could have had a bit more fun with the juxtaposition of posh Nigella and cheap baked goods. Or perhaps Gregg’s is truly on the up and going premium; appealing to the middle classes who would rather appear working class under Labour and are also looking for a replacement for the big festive John Lewis ads? Either way, Nigella makes it sound delicious. 3/5

RM: I think Greggs is trying to be counter-intuitive and we are supposed to be amazed/amused that it makes things that Nigella Lawson likes (or is paid to like). But as she sounds so bored by the whole palaver there’s not enough distance between Gregg’s actually fairly ordinary festive fare and Nigella’s low key reaction to it. And as it’s nearly 10 years since she had a new UK TV series, I suspect a large part of the audience won’t really know who she is, undermining the effect even more. “Bag some joy” is a good tag line but the delivery is so downbeat that it is wasted. Sparkier direction could have saved it. 3/5

RS: I love the thought that someone had to phone Nigella Lawson’s agent and float this idea. I love it even more that they bit. Greggs continue their tradition of Christmas mischief by giving their £2 Festive Bake the same semi-erotic reverence that Nigella usually reserves for her most sumptuous of ‘naughty’ deserts. Having won the world of budget high street snacks, Greggs are coming for the Pret a Manger and M&S Food shopper. Another smart move from a very savvy brand. 4/5

NW: The recognisable domestic setting, familiarly sensuous descriptions, big doe eyes, super soft lighting and all of Nigella’s premium vibes are lent to Greggs’ seasonal menu and it will be loved by both brand fans and more than a few of those not yet tempted. Another nudge along the middle-class acceptability spectrum. 4/5

John Lewis

Total score: 22
Searching for a present for her sister in John Lewis, Sally parts some dresses on a rack to find passageway to the past. It takes her on a journey through memories of her sister, with Richard Ashcroft’s song Sonnet proving the soundtrack.

JB: What’s with the collapsing houses in Christmas ads this year? Slightly scatty but this one gets better the more you watch it. A nostalgic JLP ditty with a twist and a nice message: only you know your family (and only we have the perfect gift to match). A lot of action, a solid tune, and a feel good ending. 4/5

CHS: I found the edit a touch difficult to follow, but it’s got all the ingredients of a classic John Lewis advert. Big emotive track. Familial relationship. Montage through time. And thoughtful gifting. Plus an insightful truth, at least in my case, about the last minute panicked dash and the complex relationship between sisters. 4/5

RM: Look on and weep ye John Lewis imitators. This is how to make a Christmas ad. Pitch perfect performances, beautifully directed and designed, there is nothing not to like here. The delivery of that oh so difficult balance between flogging products and tugging heartstrings works wonderfully well. Of course John Lewis has the gift you’re looking for even if you don’t know what it is yet. And it bears repeated viewing, with brilliant touches such as the rain indoors and internal references (like the nose ring) adding substance to the story. This is the benchmark. The rest of the festive field looks feeble by comparison. 5/5

RS: Nostalgia is a potent strategic weapon, and unleashed with fervour by John Lewis this Christmas. Gone, the ‘reimagined’ covers from years past, replaced by a late ‘90’s original from The Verve, transporting shoppers of a certain age back to a time when life was more innocent. Then we’re taken on a whirlwind time-travelling tour of core memories; between our protagonist and her sister. All in the aim of connecting emotion to gifting, and letting you know that whatever, whoever, why-ever you are looking for a gift, you’ll find it in the nation’s favourite department store. Congrats. The Christmas mojo is back. 5/5

NW: Is it possible to make a beautiful, emotionally-charged Christmas ad and sell some stuff? It seems like a reasonable thing to ask if you’re a big retailer and this ad balances those two requirements pretty elegantly. In terms of craft, it’s beautiful. The story flows with pace, the cast and acting are great, and plenty of JL punters will identify. The setting and the end-line add neat commercial kickers. Handsome and efficient. 4/5

M&S Clothing & Home

Total score: 13
A girl shakes and tilts a snow globe to find it has an equivalent effect on her surroundings, including Christmas guests.

JB: Crikey, an homage to 1975 with its glitterballs and funky music. A sorry/not sorry reminder that climate change has put paid to white Christmasses lapses into a snow-globe-disco where everything’s jiggly and nothing makes sense. Are they on Charlie at the end? 2/5

CHS: The snow globe provides a good excuse for a song and a dance, which provides a good excuse to showcase the Christmas clothes, which do look very good in their glittery, slo-mo, snow globe glory. And then it snows! Job done. But I’m not sure it’s much more than that. 2/5

RM: Miserable people, it seems, can turn quite jolly once they bung on an M&S frock. A nice idea, well produced, with a bit of energy about it and a solid Pearl & Deanesque backing track. It takes several viewings to see much of the clothes themselves, and there isn’t anyone in the ad that you would want to share the festive season with, but the impression is good. M&S is for Christmas, and they can even make it snow. 4/5

RS: This ad feels all over the place, like three or four different ads trying to fit together. Is it ‘magical’? Is it real? Is it glamorous, or is it accessible? The production quality goes up and down depending on the shot. It feels a bit like a print catalogue that’s been animated by AI. Some of the clothing looks great, but the interiors feel cold and unlived. And then at end-frame, we are told “Christmas Starts Here”. Yawn. Whatever happened to Magic & Sparkle? 2/5

NW: Clothing and home is a difficult combo and you could argue this carries both as well as could be hoped. But it definitely works better for Clothing and, as a vehicle to show off all their sequined and sparkly tops, dresses and boots, it works. The Home content feels very secondary and like they’ve crammed in every single piece of furniture and Christmas item M&S sells and everything moves too fast to really notice any of it. 3/5

Tesco

Total score: 16
Tesco taps into Christmas as a time of loss as well as celebration, with a story of grandson, granddad and absent grandmother, to the Gorillaz’ song On Melancholy Hill.

JB: Super cute and brilliantly done. Flitting between past and present is a neat trick to slow us down, pause and reflect. The gingerbread – and the gingerbread house – unlocks fun, relatable nostalgia and it’s great product placement. That said, gingerbread – including the collapsing house – may be a metaphor for the crumbly, dystopian shit show we’re living through. Just me? 4/5

CHS: Follows on nicely from last year, recognising that Christmas isn’t always pure joy. There’s often melancholy mixed in which is a nice insight. But I think the balance of joy and melancholy is a bit weighted towards the latter this year and I also had to watch this a few times to understand what was happening as it’s not told all that simply. 3/5

RM: Some kind of gingerbread psychosis has set in Tesco-land. There’s a dead grandma, and both good gingerbread and evil gingerbread seemingly reflecting the rapidly changing moods of the bereaved grandad and Gary the grandson. People, goldfish, foxes, etc are made of gingerbread and then they aren’t, for no obvious reason that I could discern. It’s weird, but bad weird rather than fun weird. Have a marginally less maudlin and miserable Christmas at Tesco. No thanks. 2/5

RS: Tesco have kept the metaphor of ‘transformation’, which last year was light, fun and frothy. But this Christmas, it’s all gone a bit more earnest. Poor old Gary misses his Nan (who we assume is dearly departed, rather than on a beach in Thailand), but as he gets ready for the big day (through flexing his Clubcard), his world transforms to a gingerbread wonderland. But for it to stay magical, he has to bake his very own showstopper, with his Grandpa. Because Nan would have loved it. It’s probably too long, but it has genuine warmth absent from some others this year. 3/5

NW: There is a lot going on here. How many Christmas ads will you see this year which could be described as thoughtful, challenging, confusing, sad, big-hearted, loving, discombobulating and, ultimately, uplifting? This will undoubtedly have Goggleboxers crying, then laughing, crying again and then finishing with a big aw. Story, cast, special effects, (wonderful) song choice, originality, and boldness, make this pretty epic. Pass the gingerbread tissues. 4/5

Sainsbury’s

Total score: 20
Roald Dahl’s The BFG sets out to make Christmas “a bit more fizwhizzy” with the help of a Sainsbury’s assistant.

NG: Sainsbury’s have gone unashamedly big in every way this Christmas. A huge 1.45 mini-movie with everyone’s favourite BFG, who enlists Sainsbury’s to make Christmas extra special. The narrative deftly uses the BFG, with the help of a now grown-up Sophie, to take a tour around the premium food and sourcing credentials of Sainsbury’s, making sure everyone gets something magical this year. The ad is wonderfully crafted and as high class as the food on offer, capturing the magical feeling of discovering special versions of all the things we need to make Christmas special. Nice orange brand touches throughout don’t feel intrusive, and I loved the end footprint scene on the beach which oozes confidence. 4/5

CHS: Points for following the format of the broader campaign platform, with a ‘Hey Sainsbury’s…’ question and a staff member coming to the rescue. And it delivers on the bigger brand promise of making good food available to all, with the brand and product as the central ‘character’ that drives the plot. This should help with brand attribution. The BFG then adds some freshness, magic and guest star quality. Although, hey Sainsbury’s… why the BFG? Not especially Christmassy. 4/5

RM: At last someone has had an idea. Or licensed one at least, deploying the BFG as our festive friend so that we can all “go big this Christmas”. That’s as sophisticated as the association gets, but there are some nice provenance links (for the unusual combo of salmon, sprouts and cheese at least) and a good sight gag at the end. All the seasonal cliches are still there and the female lead ‘Sophie’ can’t act, but an animated giant, even if from the pen of a notorious anti-semite, is a definite point of difference. 3/5

RS: Hey Sainsbury’s… your strategy’s showing. The client asks “Get people to trade up”, the agency strategist suggests “Go big this Christmas”, so the creative director suggests using an actual giant. Voila – The BFG. It’s cute and warm, without really giving me a reason to do the ‘big shop’ there. And unless they are selling limited edition Frobscottle this Christmas, they’ve missed a trick. 4/5

NW: This is glorious. Inventive, original, nice involvement of provenance, beautiful food, store colleague, aw-moment and a clear call to action. And they’re working with Comic Relief to help reduce food poverty. Brilliant. 5/5

Asda

Total score: 15
With roads snowed under, an Asda worker calls in gnomes to get the store ready, and provide the puns.

NG: Colleagues are crucial to Asda, embodying the DNA of the brand, making the experience more friendly, fun, and fit for the occasion. This year, the brand has given its colleagues some extra help from a cult product: gnomes. The ad works well to capture the way Christmas can sometimes feel like an impossible military manoeuvre needing a troop of helpers to make it a success. 4/5

CHS: Whilst there are some good festive ingredients here, it feels like a bit of a random idea rather than leveraging any ongoing brand platform, proposition or equity. Also, gnomes don’t feel particularly ownable or Christmassy (except in Scandinavia). However, points for the sheer amount of gnome puns in one script and for featuring the store and colleagues again for brand attribution. Also, for the A-Team theme tune and ‘Driving Home for Christmas’ by Chris Rea featuring in one ad! In general, though, I think it’s overly reliant on clichés and whilst it’s fun, it doesn’t quite scale to the same heights as Elf or Michael Bublé. 3/5

RM: Given that there hasn’t been a proper white Christmas for 14 years, its ubiquity as an ad trope just makes the creative wasteland of supermarket commercials even more depressing. Snow is a key plot point in this festive fiasco, that and gnomes. Yes gnomes, those not at all Christmassy garden ornaments that almost everyone hates. Great choice, Asda. And even the most whimsical or whacky of ads needs some internal logic to make it work, but there’s none of that here, just lame puns and evil pottery. 1/5

RS: Asda have gone from Elf in 2022 to gnome (via Buble in 2023). A big move from what felt like a successful formula. It’s also a bit detached from the new ‘That’s More Like It’ positioning that was launched earlier this year. On the plus side, there’s an en’gnome’ous number of gnome puns throughout, with attention to detail and wit that means you’ll have something new to chuckle at each time you watch it – which is good because you’re going to see it a lot. 4/5

NW: I want this to work, I really do. Lovely nod to Asda’s northern home kicks it off and they are always good at using store staff. But having had Elf and Michael Buble in ’22 and ‘23, this year’s offer falls a little short of previous high standards. Cheesy music, great animation and some wry smiles but nothing to write gnome about. 3/5

Morrisons

Total score: 18
Singing oven gloves are back in Morrisons 2024 festive ad as a family prepares the Christmas feast.

NG: Rather than sell the store and shopping experience or drive quality via the authentic provenance of Christmas food, Morrisons has staked its position in kitchen of those catering for Christmas, as they await the crucial food delivery, prepping, cooking, and serving Christmas dinner. In a world where consistency of creative is becoming more appreciated, it’s good to see Morrison’s recycling last year’s hilarious singing oven glove puppets, adding novelty in a bigger and more theatrical production of the sassy Bugsy Malone ‘You Give a Little Love’. The ad should appeal to everyone who feels Christmas is a huge production coming together in a performance on the 25th. 4/5

CHS: Morrisons is looking to build recognisable festive brand characters with the oven gloves for a second year running. It definitely has some warmth and lighthearted Christmas spirit to it. Probably down to a musical chorus style song about love and sillier moments like some mewing cat gloves. But, there’s no narrative here. It feels product-centric – again a big and rather generic table of food – and even a bit functional, with half the gloves being British to hint at British meat. 2/5

RM: So they must have thought the oven glove idea was good last year, because it’s back with bells, whistles and weirdly, a 48-year old song from Bugsy Malone, in a kind of nonsensical Muppety musical. However, as the song is about giving love and getting it returned, and the visuals are about gratuitous over-indulgence in Christmas fare, there is a big disconnect. And oven gloves, however well they sing, are still among the least lovable of the kitchen accessories, so that doesn’t help. 2/5

RS: Morrisons have brought back the singing oven-gloves in a Muppets-style cabaret to the Bugsy Malone banger, ‘You Give a Little Love’. Is that Christmassy, you ask? Not necessarily. But the central refrain is spot on seasonal shopper psychology – it’s about the giving, not the receiving. And it works. High recall potential, toe-tapping fun, and the food looks great. 5/5.

NW: Loved last year’s intro to the gloves, love this upscaled production even more. Best song choice of the year contender, proper ear-worm and a brilliant example of how avoiding schmaltz and jingle bells can deliver. Fun. 5/5

Aldi

Total score: 15
Aldi’s Kevin the Carrot faces a mission to recover the spirit of Christmas after it’s stolen by ‘humbugs’, but still has time for bum and boob jokes.

NG: Aldi have stuck with their incredibly popular formula, bringing their heroic carrot out to complete another mission. It delivers everything you expect with nostalgic Broadbent commentary, endless puns, and plenty of references to popular culture all packed in to a wonderful ride that you don’t want to get off. This year’s impossible mission leads Kevin to come to the rescue of the spirit of Christmas from the humbugs. Responding to a year of economic pressures and change, this feels a sentiment most people can get behind. 3/5

CHS: Kevin is a consistent and recognisable brand character. One which it seems every other brand is now chasing and trying to replicate by building an alternative character set, whether that’s oven gloves, gnomes or fairies. This means Aldi has a headstart in this competition, with eight years of Kevin the Carrot under its belt. But it still feels a little disappointing, without the force of a recognisable story behind it, such as last year’s take on Charlie and The Chocolate Factory, and relies on a bum and boob joke for engagement instead. 3/5

RM: They won’t give up, will they? Still, things have improved in Kevin-land. It’s tits ‘n’ bum jokes this year instead of knob gags. And the introduction of the humbugs is actually almost fun. The whole thing is still an incoherent over-produced mess which means that any charm present wears very thin on repeat viewing. Bah humbug indeed. 2/5

RS: Aldi’s internal analysis of previous campaigns must tell them that ‘People really love Kevin the Carrot’. They were going to keep him at all costs. But like a film franchise that is starting to wear a little thin, original insight and charm is replaced by action-hero effects, and a bum joke and a boob joke. But it’s well made, again, and the food looks great, so I suspect it will work hard for the business. 3/5

NW: Kevin’s arrival is now officially A Thing at Christmas, and with good reason. Consistently high-quality story-telling using recognisable assets which fit the brand perfectly, elevating it above everyday-ness while keeping its tongue firmly in its cheek. Good times. 4/5

Lidl

Total score: 13
Lidl make its Toy Bank appeal the focus of its Christmas ad again this year, asking if alongside the feasts and joy, “Is it not more Chrismassy to give?”

NG: As Aldi have focused their hero Kevin on saving the spirit of Christmas, Lidl have also steered away from the overboard material indulgence of Christmas to the real spirit as one of giving via the Lidl Toy Bank initiative. The work is a moving tale with great performances that tells the story of a girl gifted magical wishing bells, that are initially used by all the members of the family for what they want, until finally the girl gifts a present to a boy missing out. It’s an incredibly commendable message and the work is highly emotive, but I wished at times the narrative could have been simpler. 3/5

CHS: Kudos for being the only one with a charitable message so far. In fact, one of the few with a message at all, let alone a brand message. And it’s a message that continues to build on its partnership with Neighbourly from last year, with another appearance, though smaller, from the raccoon. So, points for consistency. I still find the raccoon puzzling and it serves to highlight Lidl’s German heritage rather than establishing it at the heart of the British nation, which I think is a miss at Christmas. Probably a global asset and, fittingly for Lidl, a budget thing. 2/5

RM: This is all over the place, but mostly in Germany, with Lidl ‘doing an Amazon’ for the second year running, ie. saving money on making a proper ad for the UK by using footage from another market. It makes the whole thing even less believable. But the message is confused anyway, with all the typical over-indulgence cues followed by a John Lewis style ‘giving is better than receiving’ message. As the gift that eventually gets given is undeniably crap – a Lidl woolly hat – all the magical, wishing, self-denial and subsequent generosity seems entirely pointless. A sad decline from Lidl’s glory years. 2/5

RS: There’s a big idea behind this. Giving is better than receiving, so why not gift a toy to Lidl’s toy bank. But the storytelling to get that across is so confusing. It’s like one of those sinister central European fairy tales they don’t tell children any more. Weird old lady. Racoon. Threatening gingerbread. Sprout biscuits. And the poor boy doesn’t get a toy, he gets some Lidl-branded drip. 2/5

NW: Not overly excited by the ad itself, but the Lidl Toy Bank is a doing-not-saying concept which stands it apart from its competitors and fits with these still-tough-times without being too mawkish. Thoughtful. 4/5

Waitrose

Total score: 23
A star-studded cast (Succession’s Matthew Macfadyen, comedian Joe Wilkinson, Sex Education’s Rakhee Thakrar, Fleabag’s Sian Clifford, Dustin Demri-Burns of Slow Horses and Eryl Maynard of Agatha Christie’s Miss Marple) find themselves at the “crime scene” of a missing pudding.

NG: The work is superb, with brilliant performances to capture the not-so-hidden resentments and politics of hosting Christmas dinner for the extended family. If the popularity of Ludwig, Glass Onion and endless re-runs of Poirot at Christmas are anything to go by, this should be a hugely popular way to show off a wide range of delicious food in a genre Waitrose customers love. Chapeau! 5/5

CHS: An enjoyable whodunnit and clever way to showcase the products with a bit of added jeopardy, intrigue and entertainment. Helped by a star-studded cast. Nice insights into family dynamics, the kids’ disinterest rang true and cats are always welcome. Not sure how it ladders up to ‘Food to Feel Good About’ though as everyone looks pretty miserable. Perhaps this is part of the mystery to be answered in part two. 4/5

RM: It’s the ad that saved Christmas. Great script, stellar cast, beautifully performed. Look at this other retailers, clinging lamely onto your snow scenes and groaning festive tables (and your bloody gnomes), and fire your advertising agencies. Because, while they may deny it, it clearly is possible to produce a Christmas ad that is original, witty, entertaining, engaging, places products well and bears repeat viewing. 5/5

RS: Well this is different. If you could squeeze the essence Waitrose self-aware middle-class smug into a 90 second film, you’d get this. A Christmas ad that isn’t a Christmas ad… “It’s a crime scene,” says Tom Wambsgams in an English accent. It’s witty and original. I just hope the inevitable episode two which resolves the tension also comes with a dollop of good old fashion Christmas joy. I suspect it will. 4/5

NW: Oooh it’s whatserface, and whatsisface, and Joe Wilkinson! And oh my days, is that… him from Succession? This is brilliant – a completely original route into Christmas. Great casting, great characters, strong premium vibes and a key food item is the ‘hero’. Is it an ad or a little brand film? Who cares, it’s great. Original. 5/5

M&S Food

Total score: 12
Dawn French gets two roles in M&S’s festive ad for 2024, one as the voice of the Christmas Fairy for the fourth year and another for the first time as herself.

NG: It might be an emerging theme this year, but M&S have gone back into their history to reprise their partnership with Dawn French. This time French is not only the voice of the festive fairy granting everyone magical Christmas mealtimes, but also the beleaguered host of Christmas. In a cluttered competitive festive world of brands and ads all offering their take on how to make things perfect, the persona of Dawn French allows M&S to have fun appealing to the reality of catering for the hordes of distant relatives we see once a year without turning it into a nightmare at Christmas. 3/5

CHS: Another brand character to the rescue. To be fair, I empathise with this sentiment and wish Christmas was just a case of a fairy/carrot /gnome fixing things for me. And, indeed, that these ‘ownable’ characters were such a simple single solution for writing Christmas ads. This one has blown my mind though. Dawn French is both the one in need of rescue and the rescuer – one way to ensure you get enough bang for the celebrity fee buck. But at least it’s a bit self-referential and knowing. 3/5

RM: How much you like this probably depends on how much you like Dawn French. But even the most ardent fan must surely find it a challenge to muster much enthusiasm. The Christmas ornament fairy thing is back, sorting out the party, but there is no wit, no zing, no pizazz, in the script. The message is straightforward: M&S food “for all the best parties” but the execution is just dull. It’s not just creative. It’s, well, not very creative at all, actually. 2/5

RS: I watched it over and over trying to find the real charm in it. It should work. It’s got Dawn French (Fairy Godmother reprise), talking to Dawn French (as herself). And essentially the insight is ‘M&S is your shortcut for a great Christmas’. But it’s all so clunky. As they say, if you have to explain a joke, it’s not a good joke. And Dawn French spends 90 seconds explaining everything to the viewer. 2/5

NW: Yes, Dawn French is a national treasure but combining her with a Dawn French-voiced Fairy Godmother doesn’t work, and she’s trussed up like a turkey by a thin story and a weak script. Let’s hope the rest of the series gets better. 2/5

Amazon

Total score: 12
A cleaner takes centre stage at a theatre after his singing voice is overheard.

NG: The theme of promoting the Christmas spirit, giving to those in need and focusing on what really matters is embraced by several retailers this year. In this genre, Midnight Opus tells the moving tale of the joy that comes from a thoughtful act of kindness to those least expecting it. The work is highly emotive, and you’re drawn into the performances, so it should leave viewers feeling more positive about the brand as the place to go for thoughtful gifts. Where I feel the creative could have worked harder for Amazon is in focusing less on the macro societal themes and more on the incredible unique roles that Amazon can play in everyone’s lives at this time of year. 3/5

CHS: Forgive my bias here, for applauding the formula that Amazon have stuck to consistently since our ballerina in The Show Must Go On campaign in 2020. It does feel like it’s getting a bit expected and, dare I say it, overly saccharine this time round. But perhaps it will inspire a tear or two. 2/5

RM: The most tenuous link with Amazon – we’ll all be buying dinner jackets for our American janitor friends this Xmas I’m sure – but well-made and designed to tug at the heart strings. Alas, whoever thought using ‘What The World Needs Now…’ was an original idea must have missed the TV ads for Dairy Box (1977), Calvin Klein Eternity (2002), WWF (2018), President’s Choice (2019), US Red Cross (2020), Red Ribbon Bakeshop (2022) and, over here, the People’s Postcode Lottery campaign which broke just last month and is on screens at the moment. Too much love drives a man insane, to quote Jerry Lee. 3/5

RS: Amazon continue their seasonal mnemonic of ‘random acts of kindness (via shopping on Amazon)’. But whereas before it felt tangible and real, now it’s a little more fantastical. And by fantastical, I mean someone actually buys a tuxedo on Amazon. One click. No measurement. No doomscrolling. The soundtrack is nice, and it looks expensive. But it takes a long time to get to a punchline and you’re left thinking ‘So what?’ 3/5

NW: The ad itself is ridiculously, comically cheesy. Not wry, kinda cute British Christmassy cheesy, but more American, plastic, totally fake cheeezee. That’s bad enough, but when put alongside a pretty steady stream of news about poor treatment of workers, Amazon telling us ‘All the world needs now is love, sweet love’ becomes ultra-cynical. Grotesque 1/5

Topics

No comments