Movie Review: ‘Ebenezer’

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Review by Adam Courtliff

Ebenezer
Director: Ti West
Writers: Nathaniel Halpern & Charles Dickens
Cast: Johnny Depp, Ian McKellan, Sam Claflin, Daisy Ridley
Synopsis: A thrilling ghost story set in Dickens’ London, following one man’s supernatural journey to face his past, present and future as he fights for a second chance at redemption.
Grade: D+

With there already being countless film adaptations of Charles Dickens’ A Christmas Carol, the question on everyone’s lips going into Ti West’s latest spin on the classic with his film Ebenezer is, is this really necessary? And after sitting through its vastly inflated runtime and surprisingly dull core, it’s safe to say that aside from serving as a Johnny Depp comeback tour, there’s nothing that justifies its existence outside of the inevitable profit it will make thanks to Depp’s name being attached.

The marketing for Ebenezer would lead you to believe that this isn’t simply another adaptation of A Christmas Carol, with the tagline “the name you know, the story you don’t” frequently bandied around throughout the promotional campaign. Naturally, you’d expect this to be a fresh and unique take on the source material. However, those going in anticipating something different will inevitably be disappointed, as for the vast majority of its runtime, the film follows the exact same narrative path as many other versions that have come before it and, quite frankly, done it a lot better.

Just like in the novel and its numerous film and television adaptations, Ebenezer follows Scrooge (Johnny Depp), a greedy, aging man who despises Christmas. On Christmas Eve, he is visited by the ghost of his former business partner Jacob Marley (Ian McKellen), followed by the Ghosts of Christmas Past (Andrea Riseborough), Present (Tramell Tillman), and Yet to Come (Robert Strange), who force him to face up to the consequences of his selfish ways. Through this eye-opening experience, Scrooge discovers the true meaning of Christmas and realizes it’s not too late to change his outlook on life, embarking on a journey of redemption that starts with kindness.

Sounds pretty much exactly the same, right? That’s because, for the most part, it is, excluding a few extra additions squeezed in for good measure. That’s not to say it’s a complete shot-for-shot remake of some of the more established adaptations, because as expected with a director like Ti West, he does bring a gothic horror flair to the retelling that we haven’t really seen before. Admittedly, that approach is intriguing during the first act, particularly with the ghosts, whose appearances are unlike anything we’ve previously encountered in A Christmas Carol. That initial fascination subsides fairly quickly as it becomes apparent that the story never really deviates from familiar territory. Despite some lazily inserted jump scares to ensure the audience stays awake, it soon settles into just another retelling of Dickens’ tale, which, for a director of West’s calibre, feels especially disappointing.

That said, by taking this more macabre approach, West allows his production design team to shine the brightest. They create a thoroughly immersive and sinister depiction of 1843 London that is incredible to look at and incredibly easy to become captivated by. That’s aided by the equally impressive costume department, which maintains the period illusion throughout, with their distinctive approach to clothing the ghosts being particularly striking and by far one of the most enjoyable aspects of the entire movie. These accomplished technical elements are accompanied by a thoroughly engaging score composed by Tyler Bates that manages to capture some of the festive spirit the story aims for.

Sadly, though, that’s where most of the magic and holiday spirit ends. The additional material, which feels like an attempt to justify the film’s existence, proves far more detrimental than beneficial. It bloats the runtime to an unnecessary degree and slows the pacing almost to a halt, making the whole experience considerably more of a slog to get through than it ever needed to be. All the while, these additions never provide a deeper understanding of Scrooge as a character, nor do they bring anything particularly new or compelling to the narrative. In fact, it’s quite the contrary, with these diversions proving more distracting than anything that might actually help the movie stand out from the crowd.

There’s also a desperate attempt to be funny throughout that falls flat on its face, proving far more eye-rolling than it ever remotely comes close to being amusing. The constant inclusion of jokes is a complete tonal mismatch when you factor in the horror elements West has incorporated into the rest of the film. And when you consider the emotional impact that A Christmas Carol aims to deliver through its messaging, the decision to undermine that with such cheap, ineffective humor becomes all the more baffling.

Of course, the main talking point of Ebenezer is the return of Johnny Depp to Hollywood. While devout fans will most likely be happy with his outing and thankful to see him back on the silver screen, it’s a performance that doesn’t really rise above mediocre. It’s definitely not bad, it’s more just fine, and at times almost feels like a caricature of previous portrayals of Scrooge. There’s nothing particularly distinctive about his interpretation, nor is it one that will be remembered for years to come like those of Alastair Sim or Michael Caine in the same role. Instead, it seems destined to be remembered primarily as the launchpad that put Depp’s name back on the radar, with the painful irony of the story’s central message and his own personal journey bearing some striking parallels.

Depp isn’t the only big-name cast member seemingly hoping the film will serve as a springboard back into relevancy. Rupert Grint takes on the role of Bob Cratchit, a character who, in many adaptations of A Christmas Carol, pulls on the heartstrings thanks to the moving hardships he and his family endure at the hands of Scrooge. Grint though never really captures the genuine emotion you’d expect, delivering a portrayal that comes across as wooden and forced rather than remotely authentic. As a result, the emotional gut punch you’d usually get is noticeably absent, something that even Kermit the Frog was able to capture, which really puts things into perspective.

In fact, there really isn’t much to write home about when it comes to the rest of the cast. Daisy Ridley and Ian McKellen are criminally underused, meaning even their brief appearances are easily forgotten. Sam Claflin is perfectly fine but ultimately incredibly forgettable. Andrea Riseborough, meanwhile, finds herself in the unfortunate position of being the most memorable for all the wrong reasons, as she is forced to deliver her lines in such a jarring, fragmented, almost single-word fashion that it becomes increasingly irritating with every passing moment.

It’s only really Tramell Tillman who will walk away with any flowers, stealing every single scene he appears in. Whilst his time is rather fleeting, he makes the most of every second, establishing himself as a commanding presence on screen who is utterly captivating to watch. There’s also a heartfelt edge to his portrayal that ensures his appearances become some of the most memorable moments of the entire movie.

It would be almost impossible to make an outright terrible adaptation of Dickens’ A Christmas Carol. It is, after all, an iconic story that has spanned generations, and Ti West’s Ebenezer proves that point. But while it may not be terrible, it’s not particularly great either. And if, by the time the credits begin to roll, you’re still asking yourself, “What was the point of that?” then it’s difficult to consider it much of a success. Instead, it ultimately goes down as somewhat of a nothing burger that fails to stand out as anything truly distinctive or worthy of spending your money on.