Ebenezer will release in UK and US cinemas on November 13, 2026, courtesy of Paramount Pictures.
Synopsis
Ebenezer treads old, snowy ground as yet another adaptation of Dickens’ beloved classic, A Christmas Carol. Miserably placed in Victorian London is Ebenezer Scrooge (played by Johnny Depp), who rejects Christmas, friendship and any form of goodwill. However, on one fateful Christmas Eve, Scrooge finds himself visited by three spirits, who each take him on a journey across time. With the ultimate goal of changing his ways, the ghosts invite him to search deep within himself – and find his humanity before it is too late.
Review
A Christmas Carol has always been, first and foremost, a haunted tale. Each Christmas, families gather before the fire, indulging on good spirits, to rattle and shake like the old miser himself. As Marley’s chains drag across the floor, as memories are revisited, as fates are foretold, you can practically feel the air chill. It is a grim tale, yes – but we’ll tell it even so. But, underneath its layers of translucent flesh, A Christmas Carol possesses a warming soul and an important parable on its lips. Change can grant the key to redemption. And whilst this cheapskate has always stood as our symbol of this, Ebenezer reminds us that resurrecting the ghosts of the past isn’t always a wise choice.
With his background in horror well-sown, Ti West‘s newest conquest is old blood; after past dealings with final girls and starlets, his pivot to Ebenezer feels intentional. The story is told across five stakes, with West attempting to drive each into the chest of his viewer. His Ebenezer is pinched and comedically pitiful, the picture of pathetic misery. Many laughs will be divined from his shocked nature and his joyous transformation come the films end. Buried in the depths of Victorian hell, he bumbles around, content in the full belief of the negativity of the world. West has many strings to play with, when it comes to this wizened tale. Much like previous adaptations, he could’ve enhanced its humour, its familial element, its darkness. But, what he ultimately leaves us with is very little of any particular thread at all.
West attempts to titillate, serving slabs of darkness to create new touchpoints of fear. Wheezing ghosts lie beyond Ebenezer’s window, child spirits reach from inside a ghost’s ribcage, a crow emerges from a pivotal character’s mouth – but these moments are too few and far between to really rattle the cage. Whilst one might expect mirth and merriment, these too are equally too scarce. There are flickers of it, when our wretched Scrooge drops porridge on himself or breaks his own bed. But this film fails to sing in any particular score – and when it does, it’s simply not loud enough. Perhaps a moment of pause, inside Ebenezer’s mournful home or his mournful past, would’ve allowed a new song to shine through.
The film’s biggest concern, however, is greater than its retreading of hallowed ground. Every inch of Ebenezer, from the marketing to the direction to the performance, is aware of the audacity of Johnny Depp’s Hollywood return. In fact, it embraces it. This then begs the question – Will Depp’s appearance and performance in this movie make him redeemable? And, unfortunately for this critic, the answer is no.
Depp potters around as the titular character, turning his hunched back on the world. He is no stranger to physical transformation, nor least whimsy and flamboyance. Ebenezer is thus played by numbers, affronted when needed, emotional when required, delirious with laughter when appropriate. And whilst genuine ripples of sadness flood through the screen at points, Depp’s presence lessens this impact. It is just about bearable, until you remember that this is a redemption story – and not everyone should be given this big a platform for redemption. In one particular scene, Ebenezer kneels before Bob Cratchit, pleading and begging that he is a changed man, a man who once did wrong but has since atoned. It simply seems in poor taste to present Depp on the world’s stage in such a moment of weakness.
Alongside Depp’s ventures back into overexuberance, his supporting cast paint a much more grounded image. Tramell Tillman shines as The Ghost of Christmas Present, in a more in-depth reading of the once jovial character. Rotting and cracking on the surface, he festers under the weight of mankind’s wrongdoings, gorging himself before his final hour dawns. Ian Mckellen and Andrea Riseborough lend their gravitas and ferocity as Marley and the Ghosts of Christmas Past, with perhaps more of a cameo turn for Mckellan. Rupert Grint takes centre-stage as Bob Cratchit, whose fading hope feels tangible. As a set, they act as a buffer around the deceptive heart of the film, with Daisy Ridley and Sam Claflin bringing up the rear with waves of geniality. But they do little to appease the mind of a viewer that may question this film’s moral compass.
There is some panache, however, in the film’s mechanics. The editing sweeps smoothly, like the turning of a page, moving characters with dazzling effect. At times, they are repositioned, revolving around the story as if on an entertaining merry-go-round. Much like their fantastical counterparts, they operate as though wrapped in a fantasy tale. The camera sweeps around with them, at times punctuated with slightly heavy-handed zoom-ins on abrupt changes of emotion. And the score serves a layer of gothic lacing, decorating the scenery with emotion and drama. It plunges into the wintery depths of Christmas, adorned with carols and various amounts of good cheer.
One can’t help but think that there is more to be gleamed from an opportunity like this. Perhaps if Ti West dug a little further, he could’ve unearthed miracles from this age-old grave. And whilst there are moments of emotional pull, the validity of West’s work would always be thrown into doubt by the presence of Depp. It is perhaps best signified in one of the film’s concluding scenes, in which Ebenezer brings in a homeless man, not needing the validation of passing strangers who could see him do so; it doesn’t matter how outraged a viewer can be at the casting of Johnny Depp, because this film will unfortunately thrive on that outrage.
Verdict
Ebenezer is a faux-redemption story, with some comedic darkness in its heart and a whole lot more real darkness on its surface; with moments of geniality and heart, it will make for a strong family viewing. But overall, this Christmas Carol needed a little more spice in its pudding.
⭐⭐⭐
