You know you're stunningly geeky when you suffer edge-of-seat anticipation for the next installment of a Sony ad. (Will it be like Paint? Will it be like Ball?)
Shedwa finally ends our wait - and the final result isn't much like its predecessors at all. Created by Fallon with the work of 40 Passion-based animators, this is arguably the smoothest, most well-orchestrated use of stop-motion animation -- and, well, Play-Doh -- we've seen yet.
The ad also has an emotional pull that can probably be attributed to use of The Rolling Stones' "She's a Rainbow." Ad editors call this laziness - pop hits always bring easy emotion to a piece.
Which is the perfect segue into a still bigger buzzkill: Looks like the ad was a rip off a panoramic originally created by, but not credited to, husband/wife team Kozyndan.
Come on, Fallon/Passion. Credit your muses. How can we love it now?
It's like pulling teeth to find an ad that gives you practical information in a clever way without bashing you over the head in either direction.
But these retro-vibing :15 spots for the Honda Fit manage to be quick and informative with a witty -- but thankfully minimalist -- "WTF?" aspect. Eyes was like a speedy sci-fi take on the Nissan Rogue ad, which also debuted just recently. And Gas Mileage, while slightly less memorable, maintains the campaign's pace and says everything it needs to without tempting you to push fast-forward.
a52 produced the spots for agency RPA out of Santa Monica, CA.
We suppose it's a good thing to stick up for endangered species like the NRDC's Mobilizing America For Our Environment is for the Gray Wolf in and around Yellowstone park. We're guessing those in favor of the U.S. Fish and Wildlife Service's plan to kill close to 600 wolves this winter think the creatures are predatory and a danger to humans. We're not here to judge (OK, sometimes we are), we're just going to point you to a not so great spot calling attention to the cause. We'll let you decide.
We've been subject to some foul premises in our lives, but few things have generated an adverse physical reaction the way this ad for Mio has.
Produced by Duval Guillaume in Brussels, the tagline reads, "There's always a way out." Ponder on that as you like if you ever accidentally swallow a live bug.
It's probably worth mentioning that we just consumed an inordinate amount of peanut butter. This really has nothing to do with the ad, but after watching the spot, our stomachs are not happy.
This is awesome. Leo Burnett in Cairo put together this series of real-life-meets-pop-culture spots for client Melody Tunes, Egypt's first all-English music channel.
The effort goes in exact opposition to the hipster feel of iPod spots, which suggest your writhing rendition of the soundtrack in your head is actually sexier than it is. The parodies also touch lightly on cultural misunderstandings that occur when pop culture is imported.
This is something we can especially relate to, considering our mom thought "Hit Me Baby One More Time" was an anthem for masochists.
Onto the parodies: Smack That, Oops! I Did It Again, Candy Shop (50 Cent would be so proud), Don'tcha (we covered our eyes for this one), and Hang Up.
That zany little fat kid just cracks us up. He looks (and cries) like an Egyptian Cartman.
This is cute. In this trilogy of ads, Intel pairs assembly-line imagery with compelling background narrative that lends the sense these chips aren't just cogs in the wheel; they're personalities seeking unique opportunities out in the world.
Observe how chips look for love, ponder their possibilities on "graduation day" and whistle while hard at work.
The campaign, which was produced by Anonymous for agency McCann Erickson, makes a great companion series to HP's The Computer is Personal Again, which focused on how the personalities of computer owners imbued the computer itself.
This is pretty neat. Here's the Nissan Rogue ad that goes with the marble virals floating around on YouTube. Perhaps you saw it when it appeared during the season premier of Heroes last week.
But instead of a marble wandering its way through a neatly-hedged maze, the Rogue itself is speeding through an obstacle-ridden city.
Funnier still is this commentary from REmixed, which attributes the work entirely to his art director buddy Ken. The commercial is even dubbed "Ken's Nissan Rogue ad."
Our west coast contact wryly notes, "Maybe he even cooked the food for the crew at craft services..."
So auteur David Lynch has gone from Eraserhead to Blue Velvet to Twin Peaks to...a Gucci commercial? One could argue it's a sad state of affairs when all a down on his luck (misunderstood?) filmmaker has left is filming commercials. Or one could argue it's a step up since it seems every Hollywood director is doing it these days.
While we not sure about the soundtrack in this Gucci commercial - Blondie's Heart of Glass - visually, it's all David Lynch. It's like a scene out of Twin Peaks with supermodels dancing instead of that freaky little guy. In fact, if you replaced the Blondie tune with the Twin Peaks theme, it would be Twin Peaks. Don't get us wrong. We love Lynch. Though, we wish he'd hurry up and give us another Mulholland Drive or a Lost Highway we could actually understand.
After watching Dove's new Ogilvy-created commercial Onslaught, a follow up to Evolution, you might become a bit sickened you work in an industry that forces impossible ideals down the throats of innocent children. Now if you think that's overstating things a bit, just watch the new commercial. You know it's true. You know there are far too may "bigger, better, more beautiful, clearer, slimmer, fuller, trimmer" ads out there incessantly bombarding people with messages that basically say you're too fat, ugly, flat, dowdy, slobby for your own good and you simply must rush out and buy product after product after product that promise to turn you into a super model but will do nothing but drain your purse.
Why crash just one or two cars when you can turn multiple fender benders and head ons into a slo mo spectacle of ballet-like proportion? French car manufacturer Renault wen with the latter in a recent commercial for its line of vehicles. Shot on what appears to be salt flats, multiple Renaults spin, pirouette, promenade, cabriole and generally move with grace while at the same time collide dramatically on ground and in mid-air in one of the best car commercial we've ever seen.