Phil Roberts 
Ebenezer is a solid, if somewhat flawed, addition to the A Christmas Carol filmography. Ti West has crafted a glorious, sincere period piece, brought to life by Johnny Depp’s energetic central performance.
It’s time for our regular detour to Dickensian London for another helping of A Christmas Carol. Charles Dickens’ beloved classic gets a fresh coat of paint every few years with varying results. Jim Carrey’s animated adaptation gave us some edge; Patrick Stewart’s version featured an acting masterclass, and The Muppet Christmas Carol redefined the story and forged a path to greatness that has yet to be replicated or bettered. This year, however, Ti West throws his hat into the ring with a fresh, darker adaptation that promises to focus more on the book’s legendary protagonist, Ebenezer Scrooge.
With Johnny Depp cast as Scrooge, making his first big-screen appearance since he was controversially ousted from the Fantastic Beasts franchise, the film has the potential to be a festive juggernaut. With a phenomenal supporting cast boasting the talents of Rupert Grint, Daisy Ridley, Ian McKellen and Sam Claflin, the film is a shoo-in to kickstart the festivities in style. But can Ti West overcome the baggage surrounding Depp’s casting and deliver a fresh take on Dickens’ literary masterpiece? Or should this latest incarnation of Ebenezer Scrooge remain lurking in the shadows?
REVIEW
Was there ever any doubt? Fear not, Depp fans, because Ti West’s Ebenezer puts a bold spin on Dickens’ classic, delivering a sincere period piece infused with heart and despair. Johnny Depp delivers a magnetic performance throughout Scrooge’s surprisingly soft and unearned redemption arc, leading to a finale that delivers more emotional resonance than its predecessors. In the end, with its gothic atmosphere, macabre ghosts of Christmas past, present, and future, and brilliant support cast, the film does enough to justify its existence, without breaking the mould or offering anything we haven’t seen before.
While Depp’s brilliance shines through, the film lacks the festive charm that makes other adaptations so compelling. The film also shoehorns in a few needless alterations to offer something a little different, but they rarely add any real substance. Nevertheless, coupled with West’s signature style, these creative flourishes bring just enough freshness to make Ebenezer an enjoyable festive detour, even if it never comes close to dethroning our beloved classics.
ANOTHER CHRISTMAS CAROL
Whether we needed another reboot of A Christmas Carol or not, the idea of Ti West diving into Dickens’ classic is enticing, and the director takes to the Dickensian period like a duck to water. Within seconds of the opening moments, the world-building is breathtaking, offering a far more atmospheric version of the material. The streets of London are dark and somber, populated by real-world Londoners wrapped in all the trappings of the period. It gives the film more flavor than other adaptations and allows the audience something tangible to sink their teeth into. The world feels lived in, and run down, offering the perfect sandbox for West to explore.
Unlike the novel, which begins with the line “Marley was dead to begin with,” West has inserted a flashback sequence showing Scrooge’s bond with Jacob Marley, played by the phenomenal Sir Ian McKellen. This scene adds a different dimension to West’s version, deepening Scrooge and Marley’s relationship and adding more exposition to the spiritual tale we are about to explore. The sequence not only adds depth to Marley’s role in the tale, but also shows a side of Scrooge we have never seen, one tethered to his friendship of convenience. As always, McKellan uses the platform to expand upon Marley’s backstory and brings his brilliance to bear with glee. This Marley is despicable. But McKellan’s gravitas draws us in and wins our sympathy instantly, unlike the infamous Scrooge.
JOHNNY DEPP
Eyebrows were certainly raised when Johnny Depp was cast as Scrooge, but with the controversies of his past now behind him, the actor is back on the big screen, and with Ebenezer, he has found another wonderfully quirky character to sprinkle his magic over. Unsurprisingly, Depp is magnificent in the role, delivering a version of Scrooge with more depth, empathy, and arrogance than many of his predecessors. His natural allure and charm shine through the character’s miserly bitterness, revealing a playful, almost childlike innocence beneath that hardened exterior. It’s a winning combination that makes this Scrooge surprisingly endearing and will warm him to audiences in no time.
Depp returns to the big screen as though he has never been away, finding his feet with barely an effort and reminding us just how effortlessly he can inhabit an eccentric character. Despite his lengthy absence from major big-screen roles, he slips straight back into gear and feels instantly at home in the macabre atmosphere West has created. This is a Scrooge to remember, standing proudly alongside the likes of Patrick Stewart, Michael Caine, and Alastair Sim. Depp may not surpass those legendary performances, but he has certainly earned his place in the conversation. And that’s no mean feat when you’re stepping into such illustrious Dickensian shoes.
SUPPORTING CAST?
Although Depp delivers another expertly crafted performance, he certainly isn’t alone in his brilliance. The wonderfully assembled supporting cast brings even more magic to the table, making the most of their relatively small roles. Rupert Grint delivers a solid performance as Bob Cratchit, whose character is given some welcome extra depth in this adaptation. Grint sinks his teeth into the material, bringing this refreshed, more spirited version of Cratchit to life with infectious zeal. There’s a rebellious streak to the character this time around, making him a far more intriguing presence throughout the story.
The same can be said of Sam Claflin, who delivers a sensational performance as Scrooge’s nephew, Fred. Like Grint, Claflin is rewarded with more meat on the bones of his character, imbuing Fred with greater raw emotion, empathy, and spirit than we’ve seen in previous adaptations. It’s a phenomenal performance that defies Fred’s limited screen time, adding welcome depth to what has traditionally been a one-man story. This fresh approach proves a real highlight, ultimately paving the way for a finale packed with far more emotion than I ever expected.
Sadly, the character who fares worst is Fred’s wife, Clara, brought to life by Daisy Ridley. Much like her literary counterpart, Clara’s involvement is extremely limited, leaving Ridley with a rather thankless role. Nevertheless, she works wonders with the material, even delivering a wonderfully timed moment of hilarity that cuts through the tension just when we need it most. Her screen time may be fleeting, but Ridley certainly makes her presence felt, which is no small achievement given how little she has to work with.
THE GHOSTS
Sadly, it’s the ghosts of Christmas past, present, and future that fall flat in this outing, and not because of the performances. Tramell Tillman deserves special praise for his scene-stealing turn as the Ghost of Christmas Present. However, with West’s darker, more macabre take on the material, the spirits gradually lose their sense of individuality as the story unfolds. Rather than serving as a beacon of childlike innocence, as in previous adaptations, Andrea Riseborough’s Ghost of Christmas Past is a corpse-like apparition, positively oozing with the essence of the dead. It’s a polarising character change, made even more peculiar by the arrival of Tillman’s Ghost of Christmas Present.
Traditionally, the latter is the embodiment of festive cheer, introducing Scrooge to the true meaning of Christmas. And while Tillman still manages to bring plenty of life to the role, this incarnation is considerably less joyous. In fact, he’s downright miserable! As his time with Scrooge progresses, he becomes increasingly corpse-like, with his jovial spirit slowly giving way to something far more sinister. It’s a curious departure from the character’s traditional persona, but Tillman gives it everything he’s got. He sinks his teeth into every line of dialogue, delivering each with tremendous energy, poise, and power. Watching him work is an absolute delight. Despite my reservations about this radical reinvention, it’s certainly a version of the character we won’t forget, and that is high praise indeed.
CHRISTMAS YET TO COME
Robert Strange fares considerably better as the Ghost of Christmas Yet to Come. His interpretation stays much closer to the familiar versions we’ve come to know, but that doesn’t make it any less effective. Strange has relatively little to do beyond commanding the screen with his imposing presence, and he does so with spectacular effect. Thankfully, he’s also rewarded with one of the film’s most jaw-dropping moments, injecting the finished product with an extra dose of menace and delivering a suitably chilling highlight.
DICKENS DONE RIGHT?
Sadly, despite their individual brilliance, the three spirits quickly lose their distinct identities, becoming little more than carbon copies of one another. This makes their collective message far less effective, allowing Scrooge considerably more time than necessary to remain arrogant, rebellious, and dismissive. As a result, his eventual redemption feels far less convincing, cheapening the impact of the lessons he is supposed to learn through their intervention. Here, it comes across as something of a get-out-of-jail-free card, played when the story requires it. That feeling is compounded further when, following his salvation, Scrooge is forced to confront a collection of newly invented villains. As I mentioned earlier, these additional characters certainly make the film more unpredictable, but they bring very little of substance to the story. And nowhere is that more apparent than here.
One new addition I did particularly enjoy, however, was the introduction of chapter breaks scattered throughout the film. These delightful little headings give the production an instantly more traditional feel, allowing the story to unfold like the pages of a novel while adding a wonderful sense of atmosphere and a charming nod to its literary origins. Their inclusion makes the film feel like a genuine product of its time, almost like a throwback to a bygone cinematic era, while helping Ti West’s adaptation forge an identity of its own. Whether it has done enough to replace any of our beloved Christmas classics remains another matter entirely. But between these creative flourishes and Depp’s magnificent central performance, Ebenezer has certainly made its mark. For better or worse, Dickens’ timeless tale has found another life on the big screen.
VERDICT
Overall, Ebenezer is a solid, if somewhat flawed, addition to the A Christmas Carol filmography. Ti West has crafted a glorious, sincere period piece, brought to life by Johnny Depp’s energetic central performance. With its dark, gloomy atmosphere, Checco Varese’s wonderfully immersive cinematography, and a more horror-tinged approach to Dickens’ material, the film offers a fresh slice of Christmas spirit. By giving several of the novel’s supporting characters a little more meat on their bones, West has created a more fleshed-out adaptation than many of its predecessors, allowing his wonderfully assembled cast to deliver some cracking performances along the way.
The chapter breaks add a lovely touch of old-fashioned Dickensian charm, while the surprisingly emotional payoff delivers a festive sucker punch that makes the journey well worth the price of admission. It may stray from tradition, and it certainly won’t be knocking our beloved classics off their Christmas pedestals, but West has delivered a quality slice of seasonal cinema that’s more than capable of getting the festivities underway.
So, book your tickets, grab a mince pie, settle in for a chilling night filled with Christmas spirits. It’s time to banish that Bah Humbug and let Ebenezer sprinkle a little gothic magic over your Christmas!
Ti West’s Ebenezer brings some festive cheer to cinemas on November 13 from Paramount Pictures.
Meet Phil Roberts! He’s the dedicated owner, daily content manager, and editor-in-chief of The Future of the Force. Phil is a budding novelist who turned his passion toward writing about the franchises he loves back in 2016. He’s a huge fan of all things Star Wars, Batman, DC, Marvel, Star Trek, Indiana Jones, Ghostbusters, King Kong, and the Ray Harryhausen movies. Phil is a BFI-accredited journalist and a distinguished member of the Film Critics Association UK.
If he’s not catching a movie at the cinema, you can bet he’s streaming something just as awesome!
