Bah humbug! A hunched and scowling Johnny Depp curses the poor and Christmas spirit as the temperamental Ebenezer. He transforms into the classic Victorian character in a dark and faithful adaptation of Dickens’ A Christmas Carol. Famed horror director Ti West cuts no corners in a grim narrative with legitimate jump scares. He sticks to his frightful roots as a bleak production design and good supporting performances deliver a fateful journey’s message of redemption. A significant drawback is the film’s overall poor pacing which will test your patience in a sluggish third act.
In 1823 London, Ebenezer Scrooge (Depp) and his business partner Jacob Marley (Ian McKellen) chuckle greedily as they work late on a frigid Christmas Eve. Jacob chastises their timid clerk Bob Cratchit (Rupert Grint) when he asks to leave early. They’re not running a charity. Spending holiday time with family has nothing to do with business. Scrooge wholeheartedly agrees before Jacob stumbles off to fetch the kettle.
Seven years later, Jacob’s desk sits empty while Ebenezer and Bob continue working on another cold Christmas Eve. Ebenezer’s patience and civility wears thin as they’re interrupted by a stream of unwanted guests. He rejects his nephew Fred’s (Sam Claflin) invite to Christmas dinner. Why would he waste time on such nonsense? Giving gifts and charity is a fool’s errand. He earned his fortune. Those who can’t make ends meet deserve to languish in debtors' prison.
Ebenezer’s harsh words ring as he huddles by the fireside at home later that night. A loud crash and haunting wail pierces the air. A terrified Ebenezer races to lock his door, but he can’t stop the ghost of Jacob Marley from entering. Burdened with heavy chains from his life of misdeeds, Jacob warns that Ebenezer will suffer the same horrific curse if he doesn’t change his selfish ways. He will be visited that night by three spirits, who will show him Christmas past, present, and future.
Ebenezer sets the dreary stage with low lighting, muted costumes, and grainy film stock. West, primarily known for directing the X slasher trilogy (X, Pearl, and MaXXXine), doesn’t show a hint of sunlight or vivid color until the second act. This is quite effective in portraying the dismal daily existence of Victorian London’s poor. Ebezener’s office is also a soulless setting that oozes depression. The audience is keenly aware there’s not a drop of happiness in his miserable life. It’s a successful dour note that only changes with an enlightened Ebenezer.
Depp is in fine form as an irascible grouch. Much like his turn as Jack Sparrow in Disney's Pirates of the Caribbean franchise, he leans heavily into his make-up and costume design to influence an engaging performance. Ebenezer is well-realized with Depp’s body language and underbreath vocalizations playing an important part in embodying the character. He has multiple scenes where Ebenezer is purely an observer reacting to the ensemble or a strong singular actor. Depp is able to share the screen with an acting titan like McKellen without appearing diminished.
In fact, McKellen almost steals the show with limited screentime. We only see him in the first act, but he’s so strong as Jacob that his presence is felt throughout. The audience believes that Ebenezer had only one true friend and is gravely impacted by Jacob’s ghostly warning. The critical bedroom scene allows McKellen’s trademark gravitas to take hold while Depp cowers in fear. McKellen gives credence to the stakes of damnation so Depp’s willingness to change makes sense. Ebenezer finally gets a chink in his mean armor and he’s made pliable for events to come.
The film is never boring, but admittedly drags as West allows the story to play out like the source material. Ebenezer is told in five “staves” just as Dickens intended as a reference to its morality harmony. West explores his abusive childhood and we understand why he was shaped into such a heartless creature. Ebenezer doesn’t just flip a coin and become a better person. There’s a process of changing for good that requires patience to sit through. That may be a tall ask for younger children as certain dramatic aspects linger longer than expected.
Ebenezer lacks the humor of previous adaptations. This isn’t a Tim Burton and Johnny Depp collaboration with sprinkles of frivolity. West aims for a harder edge and that’s okay. He does Dickens justice with a serious approach.
Ebenezer is a production of Black Label Media, Motel Mojave, Wattsco, and IN.2 Films. It will be released theatrically on November 13th from Paramount Pictures.
