For EA's Hellgate London, Wieden+Kennedy, Portland enlisted production company Biscuit Filmworks to create these spots that remind us of both The Blair Witch Project and the death of LonelyGirl15.
Something about tearing limb from limb and not dying in here. Lots of camera fuzz and shakes. Each spot ends with the conviction-dripping statement, "I'm going to London." Ho hum.
Maybe it's just that threats made in English accents aren't super scary. Sure Snatch had blood and gore, but mainly it was rollicking laughs.
Like a cross between tag and musical chairs, DDB Barcelona and Agosto Productions have created a new commercial for the Audi A3 which pits drivers against would be drivers in the city of Buenos Aires. The goal of the game is to remain the driver of the A3. To do that, the driver must keep moving and away from those who are chasing the vehicle. If the chaser catches the driver, they become the driver and the game continues. During the commercial, chasers use increasingly inventive ways to get the driver to stop including corralling a bunch of kids to cross the street in front of the car. Surely and sadly, in America, some humorless cause group would take issue with that tactic.
No matter, it's a good spot. It shows the car. It has fun. There are no curvy, winding mountain roads. That alone gets it points.
Lest we forget that showers are also battlefields for drawing brand allegiances, Lowe, Athens and Kings & Queens -- makers of shower gel, body oil and 21st Century royalty -- come leaping out of left field to reignite our senses.
This campaign never makes you feel the same sensation twice. See the everyday technocrat turned King Caspar. Watch a retro Nefertiti claim a honey-slathered victim. Catch the demure Chinese Princess experimenting in her lab.
And finally -- the crowning glory -- observe a trailer-made brand of Sheba and Solomon. (The paper crown at rest beside the rollerblades: priceless.)
The logic follows: "It's all about being part of an urban culture that makes you feel like an everyday royalty." Ahh.
Incredibly, this ad for Highmark by Mullen serves to remind us of two childhood nightmares: the one where we're alone, friendless and talked-about; and the one about the sinister carnival where clowns eat you. (It's the punching bag thing that does it.)
The spot talks about the impact bullying can have on a child's life. The bottom line is to keep communication open with kids so they have somewhere to run when they're hurting.
That new monster "cyber bullying" is also highlighted. Good to know the child safety gurus are keeping up. It only took them 10 years and the advent of Web 2.0 to realize that rumors fly via text message, too.
For its "safest accidents" effort by Team One and a52, Lexus illustrates a series of hypothetical accidents with a life-sized pop-up book and quirky music.
Collisions and street scruples take on a quaint sort of charm when a paper tab slides that slick RX350 to its unfortunate fate. The company's last set of ads for this same message shared this soothing effect, clearing away the result of an accident as if it were only a matter of rearranging the props on a set.
Naturally, the moral of this story is, "The safest accidents are the ones that never happen."
Here's a spot for Pioneer's Kuro television by TBWA/Chiat Day and production firm Superfad. It's called Enter.
The ad promised to blow us away but never got around to it. Maybe our headphones need more bass or something.
Perfectly illustrating the lustful fantasies of the male mind and how those fantasies can harm others comes this brilliantly informative commercial from Mercator. Acknowledging men's penchant (or helpless desire) for younger, hotter, sexier, cuter, slimmer, bustier and more bootylicious, Mercator, with simple visuals and a few words, urges women to rely upon themselves when it comes to their financial stability.
Iceland doesn't want to be left out of the whole Last Supper ad scandal thing so here we have yet another ad that plays with that final meal. In this ad, Jesus is looking for Judas because the Last Supper is about to begin. In the commercial, Jesus gives Judas a call on his Siminn-powered Sony Ericsson 3G video phone and asks him where he is. The two converse using the phone's 3G-powered video capability. Come to find out, he's telling jokes to a few men and, because our biblical skills are sorely lacking, we don't know whether this ad is supposed to be funny or offensive. Or, that it's just bad. You tell us. EnnEmm Advertising created the spot.
This commercial comes right along with the controversial Folsom Street Fair ad which created a version of the Last Supper with semi-nude men and women along with bondage and sex toys. Miller Brewing was embroiled in the controversy for its sponsorship of the ad. Some call it blasphemy. Others label it humor. We just get a kick out of the media frenzy these things create.
This spot is called Beetle Boy and it's for the Make a Wish foundation. We like it because there are no harping celebrities and no witty ( red ) shirts. There's just a cute kid with an awesome yellow superhero costume, and a bunch of regular people who seem to care enough about him to help realize his dream.
Put together by the Kaplan Thaler Group, NYC.
This campaign for Lincoln Financial Group, by 22squared, would be awesome if the sound weren't out of sync, and if they tossed in some comic relief.
Because if our future self came and chatted us up during some critical moment in our lives, we wouldn't just let them go on and on about money. We'd have some questions of our own, including:
- How did you get here?
- Has someone cured cancer?
- When did I get that awful haircut?
See the Nursery and ER spots.
The campaign is called "Hello Future." And we have to admit these people are onto something, having too often shelved the IRA in favour of a new pair of jeans.