Review: Ebenezer – Ghost this one

Directed by Ti West
Starring Johnny Depp, Rupert Grint, Ian McKellen

7/10

There’s something rather comforting about a good old-fashioned Dickensian tale, particularly when it comes wrapped in lavish Victorian production design, theatrical flourishes, and a healthy dose of Christmas morality. Ebenezer certainly understands the assignment, delivering a film that looks and sounds wonderfully faithful to the world of Charles Dickens. Whether it needed to be made is another question.

One of the production’s greatest strengths is its commitment to the original language. Classic lines from Dickens’ novella are woven throughout, giving the dialogue an authentic period feel without losing the audience along the way. Director Ti West also had considerable fun with the presentation, from the Victorian staging and on-screen “Stave” headings to the pre-film credits and using the original 1914 Paramount logo. These little touches create the feeling of stepping into a much older cinematic experience.

The film wastes little time getting underway, plunging straight into the action with the death of Mr. Marley, played by the always-excellent Sir Ian McKellen. From there, a stellar supporting cast helps carry the story. McKellen, Daisy Ridley, Rupert Grint, Tramell Tillman, and Sam Claflin all deliver strong performances, bringing plenty of character and gravitas to their respective roles.

Unfortunately, the same cannot quite be said for Johnny Depp. His performance feels oddly out of step with the rest of the production. While the supporting cast appear to be playing characters in a dramatic Victorian morality tale, Depp seems to have wandered in from an entirely different film. His portrayal feels overplayed, and the tonal difference becomes increasingly difficult to ignore. There’s also a certain irony in watching Depp attempt a story of personal redemption, given the controversies surrounding his own recent history. Perhaps life imitating art isn’t always quite so convincing.

Parents should also be warned that this is not a family-friendly Christmas outing. The ghosts are genuinely dark and frightening, with some particularly unsettling supernatural imagery that could prove too much for younger viewers.

That tonal inconsistency is perhaps symptomatic of the film as a whole. Ebenezer is something of a genre mash-up, dipping into horror, comedy and traditional moral tale. At times this makes for an entertaining combination, but it doesn’t always feel entirely cohesive.

Ultimately, Dickens’ message about generosity and goodwill remains as relevant as ever. They are lessons worth revisiting, particularly in a world that could always use a little more compassion for our fellow man. But with so many adaptations of A Christmas Carol already available (crowdsourced lists suggest over 300 English language variations/adaptions), it’s hard not to wonder whether we really needed another one.

A visually delightful and occasionally entertaining retelling, but one that doesn’t quite do enough to justify its place in an already crowded Christmas Carol canon.

MELISSA MANN