2020's Christmas ads critiqued

We're almost there. Christmas is on the horizon, and the rush to organise everything is in full flow. 

But from an advertising perspective, that Christmas rush has now passed, and we can look back on the brands that put themselves out there in this most unusual of years and decide which of them deserves a kiss under the mistletoe, and which gets kicked to the snowy sidelines.

We've corralled a veritable grotto's worth of ad talent to gives us their views which are, on the whole, quite positive. Maybe the demanding nature of doing anything, let alone creating a stellar Christmas TV spot, has softened their calcified Christmas hearts, or maybe the industry has, by and large, excelled itself at a time when the chips - and everything else - were stacked against them.

"Thank the Lord of red, white, brown and black check. Not just the best Christmas ad but one of the best of the year. Everything is spot on. The idea is audacious and joyful. The casting is spot on. The performance and choreography work perfectly and of course the post production brings the real heroes of the ad - the mahoosive hailstones - to life. It was the only ad that my kids looked up from their screens to watch. High praise." Hugh Todd, Creative Director and podcaster.

"This is by far the best film. The cover of the song is outstanding. The direction is stunning. It’s strong, powerful, impactful… But, above all, it encourages people to go back outside and feel alive again! And it certainly modernises the brand! Well done. Best Christmas film!" Jean François Sacco, Co-Founder, Rosapark Paris

This advert feels remarkably un ad-like, but rather an ode to the senses.

"When I first heard that Burberry had launched a film with a remix of Singing in the Rain, my mind instantly went to the wonderful Gene Kelly VW spot of 20O5, and wondered why anyone would want to go near that track; it was so damn good. However, Megaforce and the dance collective La Horde’s reimagination of Gene’s all-time classic is just brilliant, and turning rain into apocalyptic sized hail stones as part of the choreography is just genius." Richard Denney, ECD, St Luke's London

"It’s not about Christmas, nor is it about the pandemic, it’s about rain but, frankly, who cares? Burberry know perfectly how to entertain, and they have mastered the art of keeping eyeballs firmly on the screen. This advert feels remarkably un ad-like, but rather an ode to the senses, triggering a series of dopamine hits, that makes you want to watch all over again. The dance choreography, the ice cutting sharply through the air, the earthy rendition of singing in the rain make it extremely mesmerising, soothing and everything in between. The only aspect I found disappointing was the clothes, they felt surprisingly banal for such an edgy performance. A few layered classics, but nothing inspired me to go out and buy." Sarah Blackman, Head of Strategic Innovation, Ogilvy UK

The only aspect I found disappointing was the clothes.

"An unexpected experience from the house of Burberry and Megaforce. The opening shot pulls you straight into the story and, unsuspectingly, into 40 seconds of brilliant entertainment. The remix of Singing in The Rain, the joyful choreography and surreal VFX treatment conspire to bring a whole new take on Burberry. I’ve got some new winter ideas for my original now. It’s a blast of a holiday experience!" Deborah Sullivan, Managing Director and Executive Producer, The-Artery New York

“Brings a unique spin on the classic song, Singing in the Rain. The remixed bop, though not an obvious choice for the holiday season, fits the winter aesthetic of this piece’s world. The choreography and cold weather creatively act as a backdrop for personal style and innovation." Sam Penfield, Partner and Executive Producer, 1stAveMachine New York

"I loved gravy. It’s the sort of story common in our house. Dad being a bit of a knob. Guilty. Kids giving him a tiny but of approval. Makes his day. Made mine." Hugh Todd

"I really Loved the joy and simplicity, and the generational journey in the Sainsbury's spot. I think the edit made it into an exciting and engaging fresh take on a story we have seen before. Changing the representation in the narrative is refreshing. It’s really good to see families being families, and made me ache to be a part of it. I also loved how the internet caught fire, and how all the competitors showed their Christmas spots back-to-back as a stand against the racist comments that came about from the Sainsbury’s ad. It’s really wonderful when culture, brands and creative come together for good, and when we truly understand the power of short form in using it as a vehicle for social change." Juliette Larthe, Co-Founder & Executive Producer, PRETTYBIRD UK

I loved how the internet caught fire, and how all the competitors showed their Christmas spots back-to-back as a stand against the racist comments.

"This was definitely one of my favourite ads of the season. So incredibly refreshing to see a supermarket depart from huge Christmas fanfare productions, bursting with turkeys and mince pies and contrived Christmas spirit. While many advertisers this year have tried to sugar coat Christmas 2020, in an effort to numb the difficulties and unpleasantness of the year, Sainsbury’s has bravely chosen to stay rooted on the ground. Not shying away from the loneliness, nostalgia for better/'normal’ times, or the intimacy and warmth we crave of family life. The execution is the epitome of low-fi, with some incredible VCR footage and imperfect audio, and yet it never manages to lose the edge of aspiration. The song powerfully frames the patchwork of snapshots. It is a wonderful example of the triumph of human emotion when the brand gets out of the way and is allowed to express itself naturally." Sarah Blackman

"The story is a bit sentimental but, in the end, it tells a nice little Christmas tale, as the execution is really good and it does a great job of revisiting children’s books and drawings. The result is very poetic!" Jean François Sacco

"It’s always going to be a challenge to compete with such a legacy of advertising. The current formula felt like it had run its course but, instead of experimenting with fresh narrative formats, John Lewis has opted for a symphony of stories that is neither as strong as the previous ones or different enough to start a new chapter. To guarantee the same level of impact as before it feels like the chef has used every type of spice in the cupboard and, as a result, leaves a muddled taste in one’s mouth. The execution has its signature charming, lovable quality. The music is predictably lyrical and powerful. Celeste’s voice is a great raw, authentic complement to the analogue animation style. But the whole piece feels almost too stimulating and too long, losing a lot of its impact from the simple lack of coherent narrative. On a second viewing I was really able to appreciate the subtlety of the stories and how they interlink, as well as the lovely characters that I failed to notice the first time around. I kind of wish that the whole story revolved around the felt animated spectacled girl on the bus." Sarah Blackman

Instead of experimenting with fresh narrative formats, John Lewis has opted for a symphony of stories that is neither as strong as the previous ones or different enough to start a new chapter.

“Give a Little Love has just topped my ‘Wish I’d Done That’ list. From every aspect of the creative craft, from brainstorming with the agency and brand creative teams to collaborating with each of the animation teams as they conspired to tell their stories, as well as pulling it all together with the magical Celeste track, it’s wonderfully perfect, and would have been a joy to create. Bravo all!" Deborah Sullivan

"Have to say I have a soft spot for Argos after last year -  I loved the drumming. This wasn’t quite as good, but commendable. The girls are super sweet." Hugh Todd

"[I like it] because it’s sweet and unpretentious. It’s not the greatest story, but its 'naïve' side is perfect for a Christmas ad." Jean François Sacco

James Rouse is, once again, demonstrating his mastery in comedy performance.

"This really is magic. I think it might even be more enjoyable than last year’s brilliant festive offering, it has so many wonderful moments. James Rouse is, once again, demonstrating his mastery in comedy performance and keeping you grinning from ear to ear. I would so love to see James do something with Richard Curtis. The two of them together would create comedy gold, for sure. All the Christmas feels with this one." Richard Denney

"Tesco’s naughty list spot made me laugh and increased my serotonin level. Sweet and sharp, it’s a clever twist on the concept of the naughty list, and very fitting for 2020." Juliette Larthe

"This is bloody brilliant. And an original spin on the zeitgeist. So many wonderful touches, too. I just love the snowman made out of toilet rolls. Forget Santa’s naughty list and talk about his good list, as Tesco sits right at the top of it." Richard Denney

"I’m a bit of a sucker for a ballet, as my daughter was at the Royal Ballet School. So, we watched with keen eyes, and this came up to her exacting standards. Especially impressed they used a proper ballerina - French ballet dancer Taïs Vinolo - who nailed the performance. Nice touch with the torch. Obviously be better to buy from your local hardware store than Jeff [Bezos], but that’s a minor detail." Hugh Todd

"Our Amazon spot, directed by Melina Matsoukas, still gives me joy when I watch it. It's hard to believe we made that piece of magic. To me, it held the the essence of community and the gift of giving something to others. The pride I feel in being a part of a film that was showcasing a talent such as Taïs Vinolo as our lead ballerina... but it couldn’t have happened without the divine representation behind camera. Literally the dream squad to kick off the season." Juliette Larthe

Nice touch with the torch. Obviously be better to buy from your local hardware store than Jeff [Bezos], but that’s a minor detail.

"I love the level of visual storytelling that comes into play with this stunning, performance-driven campaign. With no voice-overs or dialogue to guide viewers, Amazon flawlessly takes us on a raw, emotional journey that feels breathtakingly relevant in this unfamiliar pandemic world we’re all living in. Though a ballerina, our hero is one we can all relate to - almost as if we’re right by her side cheering her along. It emphasises not only the drive it takes to follow a passion during a time that has presented countless obstacles, but also the ability to overcome that in an epically elegant way." Brooke Williams, Chief Growth Officer, Ataboy New York

“Beautifully shot and brimming with cinematic imagery. However, what makes this story so inspiring is the way in which it pays ode to the heartache of the quarantine through the point-of-view of a hardworking ballerina dealing with a cancelled performance. What made this feel like a complete journey was the small but pivotal role the brand played in the solution." Sam Penfield

"Wow! What a guy Dad is. But what on earth was he thinking? At times he had me gripped to the edge of my seat. This long form, Netflix worthy, fabulous Christmas tale is epically told, I’m just not sure they should have revealed Santa in the truck at the end, and left that to the imagination. I bet lots of kids right now are asking mummy and daddy if Santa works for Coke?" Richard Denney

This long form, Netflix worthy, fabulous Christmas tale is epically told.

"I won’t be asked again to review a Taika Waititi film, so I figured, ‘why not?’. The narrative setup is all you need to know this is going to be a challenging trip to the North Pole. That set-up, the director’s clever use of lenses, lighting and VFX give this piece a strong filmic quality and really help to tell the tale. This Santa is my favourite by far this holiday season!" Deborah Sullivan

“Delivers an epic, cinematic twist to an age-old tradition. Every frame is stunning and my attention was kept focused on the pure intention of a father bringing his daughter’s letter to Santa. The grand reveal that the daughter’s letter was asking for her father to come home all along was truly heartfelt and earned. I even felt like I was a part of this emotional journey too." Sam Penfield

"This was curious. It felt tonally wrong, which is strange, because Boots normally nails it at Christmas; the family moving Christmas Day to Boxing Day for Mum, the nurse, a few years back, was wonderful. And, of course, who wouldn’t want to see Here Comes the Girls again?" Hugh Todd

"In my top spots for the Christmas of 2020 I’d have to have the Boots spot. The live-action/animation mix, and the track brought home a pressing problem in the UK in a serious but festive take on fundamental self care." Juliette Larthe

"Had me chuckling like a goat and, to be honest, that’s something we could all do with right now. This is brilliant proof that a 30-second spot, in the right hands, can compete with the 180-second giants, and be more memorable too, in both idea and brand recognition." Richard Denney

"The primitive idea that we all harbour as children, that things should come to life, especially around a magical time such as Christmas, is always a powerful one, and when beautifully articulated, such as the John Lewis Penguin, has the power to stay with you. But there is something desperately cold about these personified bits of sports equipment. Great lengths and expense have been placed on the dynamic escape out of the warehouse, yet I feel nothing. I find myself obsessing over animation references to Toy Story or Night at the Museum, rather than following the storyline. And while the CGI is executed with amazing precision, there is no style, no charm to the aesthetic, that draw you into the characters. The arrival of the real-life child into the story feels incidental, and they have missed a huge opportunity to link these characters to his desires or imagination with any surprising twist. It also feels extremely contradictory that the story ends with a child in an affluent home, when the whole advert ends on a promise of donation." Sarah Blackman

There is something desperately cold about these personified bits of sports equipment.

"Music-driven and sports-centric, this spot is one I connected with from start to finish because of the focus on the characterisation of the apparel and equipment rather than the product-value. From a production and execution standpoint, the final animation’s playful and engaging - another creative solution in a time of limited and inaccessible live-action shoots." Brooke Williams

"Once upon a time Christmas wasn’t Christmas without watching The Wizard of Oz. With Kevin the lovable Carrot making this his fourth season in ‘ad panto’, perhaps it’s time to give him the big screen he deserves and take him into long form branded content? Bless him." Richard Denney

"The concept sets itself apart. We have the most basic yet outside-the-box main character, a carrot, who touches the viewer in a way no one would expect. There’s a definite emotional presence as we feel close to our carrot character on its journey back home to family for Christmas. The photorealism is fabulously strong and humanises a whole family of carrots." Brooke Williams