Which election is the Labour Party trying to win? Certainly not this one to judge by this hapless piece of communication. Our country faces the greatest challenge to its democracy since World War II, and the leading opposition party is putting out films so dull that you could reveal the whereabouts of Madeline McCann at the end of it, and the secret would remain intact because no one would ever get to it.

The problem for Labour is that Jeremy Corbyn and his acolytes are under the impression that they won the 2017 election. They didn't. They didn't get crushed in the way that everyone thought that they would, but that doesn't mean anything now.

The threat posed by Boris Johnson's complete disregard for the truth requires a robust and dynamic response. And this film is wildly short of what's required, and there is absolutely no chance of it converting a single wavering voter. Depressing.

This is a very skilful piece of propaganda. It weaves two ideas together: one, that Leave voters have been let down by both of the major political parties. And, two, that the NHS has a funding crisis. Without being explicit, it suggests that these two things are connected. For those who voted Leave because of the simplistic claim that the money currently paid to the EU can be siphoned directly into our ailing health service, this fraudulent conflation provides a motive for supporting the Brexit party. It cleverly reinforces this idea without painting any lies on the side of a bus.

It was shrewd to minimise the presence of Nigel Farage. It's certainly true that the party which emerged like a phoenix from the UKIP bin fire is utterly dominated by the frog-faced bigot, but whoever made this film recognises that he is a divisive figure, especially among the Labour voters in the northern heartlands that this film is aimed at.

The good news from a progressive point of view is that this film has enough weight to split the Leave vote between this party and the Conservatives, and many Labour MPs will benefit from this. Let's hope so. It would be very satisfying to think that this piece of communication was sufficiently well aimed so as to be completely counter-productive.

Sportswear brand Vollebak create an entire futuristic universe in just sixty seconds in this intriguing commercial. A man on a ship somewhere in the far darkness of space comes back to his pod wearing - for lack of a better phrase - a sleeping bag, and goes about the process of what passes for a nightly routine among the stars.

The design work here is lovely, hinting at winder context without giving the audience too many unnecessary details. From casual acceptance of asteroid strikes to custom-delivered vitamin supplements and inter-galactic message transmission, this is a delicately executed slice of sci-fi which suits the brand's tech-focused output.

We like to imagine The Fast Show's Louis Balfour would love a piece of Buck Friendly & the Mistletones. After all, who else would tackle Irving Berlin's ‘White Christmas' with a piano, a choir, and, er, a theremin?

That's the premise of this amusing piece of work from director Uncle Friendly, who imbues the 1942 classic with egotistical solos and a professional rivalry that boils over into straight-up violence.

It's the pianist's constant looks to camera that make the scene - his smug smile and debonair bemusement soon giving way to pure rage. Let's see if this triggers a spike in theremin sales before December 25th.

Director Finn Keenan's new gung-ho commercial for Nike introduces Western viewers to the concept of qiang diao, or "confidence, swagger, or flair" in Mandarin. Everybody wants some; not least a certain nouveau riche tool in a pool.

From the comfort of his electric water-throne, the Shanghai big shot instructs one of his lackeys to find qiang diao and bring it back post-haste. Cue a madcap dash into China's biggest city and a sweaty journey of self-discovery.

Sure enough, as the attendant pleads with gymnasts, basketballers, skateboarders et al for help, he finds that - in the parlance of Thierry Henry - va-va-voom comes from within, not a catalogue. Good news for him, bad news for his deluded boss.

It's also good news for the audience, as the film chucks all manner of sporting flourishes and OTT sound effects their way. The elongated victory yell from the newly qiang diao'd protagonist is an especially fab touch.