Film Review: Ebenezer
Review by Cat Wiltshire
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How many times can Charles Dickens’ A Christmas Carol be retold before audiences finally declare, “Bah Humbug!”? From traditional adaptations to family-friendly musicals, Ebenezer Scrooge’s journey from penny-pinching businessman to generous benefactor has been explored countless times. However, director Ti West proves there is still some life and plenty of death in this old tale. His latest adaptation, Ebenezer, trades festive cheer for gothic horror, delivering a haunting, dark-humour-filled and unexpectedly heartfelt Christmas ghost story that feels both familiar and refreshingly sinister.
For those of you who have somehow never heard the story of A Christmas Carol, it is set against the bleak backdrop of Victorian London and follows Ebenezer Scrooge, a wealthy but unpleasant businessman whose contempt for Christmas is matched only by his indifference to those less fortunate than he is. When three supernatural visitors force him to confront his past, present and future, he embarks on a journey of self-reflection that challenges everything he believes about wealth, happiness and humanity. The version of this time-told story we see in the film Ebenezer is interesting, with dialogue that isn’t dulled down or brought into line with this century, but exchanges between characters that seem to have a modern wit to them.
What makes this adaptation particularly compelling is Ti West’s decision to embrace the story's horror element. After all, Dickens' original novella was a ghost story. Rather than softening its supernatural encounters for younger audiences, Ti West leans into the ghastly, creating something reminiscent of classic Hammer Horror films, with shadowy streets, unsettling apparitions and atmospheric interiors that transform Victorian London into a world where death seems to hide around every corner. He also demonstrates an impressive understanding of how to balance genuine scares with emotional storytelling. The direction is stylish without becoming needlessly indulgent, letting darker scenes breathe while maintaining the narrative's underlying warmth. Nothing runs smoothly in this version of the story, with even the classic moments we come to expect from A Christmas Carol presented to us differently and more comically. A wicked sense of humour runs throughout, with moments of black comedy providing welcome relief from the increasingly disturbing supernatural encounters. Although this humour runs throughout, the biggest laughs are saved for Christmas Day itself, after all the ghouls are gone.
At the centre of it all is Johnny Depp, delivering an engaging performance; his portrayal of Scrooge is cantankerous, eccentric, and completely unpleasant without becoming a one-dimensional caricature. He brings a mischievous energy to the role, making even Scrooge's cruellest remarks strangely entertaining. In the quieter moments, Depp truly excels as he revisits painful memories and begins to recognise the consequences of his choices; he gradually strips away the character's defensive exterior. His transformation feels earned rather than sudden, with each supernatural encounter revealing another layer of vulnerability. It was nice to take a deeper dive into Scrooge's background than some adaptations have previously and get a greater idea of what hardened his heart and, of course, led to his current predicament. By the emotionally charged finale, the man audiences initially despised becomes someone they genuinely want to see redeemed.
The supporting cast is equally impressive, with Tramell Tillman particularly memorable as the Ghost of Christmas Present. His commanding presence brings an intriguing mixture of theatricality, warmth and unease to the role. The wider cast, including Ian McKellen, Rupert Grint, Andrea Riseborough, Sam Claflin and Daisy Ridley, contributes to the film's rich atmosphere, as do the visuals. Visually, Ebenezer is a triumph, with elaborate production design that captures both the grand and grim realities of nineteenth-century London. The costumes, makeup, and impressive visual effects convincingly establish a gothic world. Tyler Bates' atmospheric score heightens the tension without overwhelming the film's more intimate moments, and the sound design makes the supernatural encounters particularly effective.
Despite its striking presentation, Ebenezer can't entirely escape the familiarity of its source material, with the narrative following the established path and, even in its darker interpretation, offering relatively few genuine surprises. Those expecting a radical reinvention will undoubtedly be disappointed on that front. However, the film works well because it understands what makes Dickens' story timeless; beneath the ghosts, scares, and occasional grotesque humour lies a message about compassion, inequality, and the possibility of personal growth and change. In a world that is still divided by wealth and privilege, Scrooge's awakening still feels relevant.
Ebenezer might not suit all younger viewers, especially if their parents expected a cosy Christmas adventure. Still, for audiences who appreciate festive entertainment with a generous helping of gothic horror, it is a wonderfully atmospheric treat. With assured direction, exceptional craftsmanship and a captivating central performance from Johnny Depp, this is a Christmas Carol worth revisiting.
Ebenezer is in cinemas from 13th November.