Ebenezer (United Kingdom/United States, 2026)

For some, it's a Christmastime tradition to turn on the TV and watch one of the many available adaptations of Charles Dickens' A Christmas Carol. Written in 1843, the story has weathered countless renditions – some good, some bad, and some offbeat – but the most likely go-to versions are the 1951 Alastair Sim classic (released as Scrooge in the U.S.) or the 1984 George C. Scott interpretation (a made-for-TV production). For more than 40 years, directors have been attempting to add a third member to that group, but none have come close. Sad to say, Ti West (whose X trilogy galvanized horror fans) is just the latest to miss the mark. His Ebenezer isn't terrible, but it dies a death of a thousand cuts – lots of small issues that, taken in concert, result in holiday leftovers. 

West approaches the movie like something that might have been made a half-century ago, using the old-time Paramount logo, bold lettering to introduce each chapter, and the Roman numeral copyright. All that's missing are irises and wipes, although there are plenty of shaky-cam shots. Tonally, West skews dark and emphasizes the horror elements of this ghost story (neither of which is surprising given his background). He keeps things PG-13, though just barely. The body horror aspects of the Ghost of Christmas Present – one of his most distinctive contributions to the tale – skate close to the line between PG-13 and R, especially when we get a look at Ignorance and Want. 

West faithfully reproduces the five "staves" of Dickens' text, although he adds a prologue set seven years prior to the main narrative. In this sequence, we see a sample of the interaction between Ebenezer Scrooge (Johnny Depp) and Jacob Marley (Ian McKellen) just before the latter dies. It's a welcome addition, even if it makes one wish for more McKellen. After that, we get the usual progression, starting with Scrooge mistreating his overworked, underpaid clerk, Bob Cratchit (Ron Weasley himself, Rupert Grint), then going home on Christmas Eve to be visited by the tortured spirit of Marley – the first of four supernatural encounters. 

Next comes the Ghost of Christmas Past (Andrea Riseborough), a waif-like apparition who reminds Scrooge of who he once was: a dashing young man with a promising future and a devoted fiancée, Belle (Ellie Bamber). The Ghost of Christmas Present (Severance's Tramell Tillman), a boisterous figure with a short temper, allows him to visit Cratchit at home with his wife and family, including his sickly youngest son, Tiny Tim. Scrooge also looks in on his nephew, Fred (Sam Claflin), and Fred's wife, Clara (Daisy Ridley). Finally, the Ghost of Christmas Yet to Come (Robert Strange) takes him to a possible future where his death is celebrated and his grave goes unvisited. 

Many of West's changes in the early portion relate to understandable condensations, diminishing the importance of Scrooge's sister and Mr. Fezziwig in favor of giving Belle more screen time. The fourth stave removes the "mystery" element, with Scrooge immediately recognizing that he is the corpse. The biggest missteps come in the fifth stave, where his redemption falls a little flat and deviates substantially from the book. I didn't buy the "swindle" subplot, nor did I believe in Scrooge's solution to the Cratchit problem. 

For long stretches, Depp is so unrecognizable under the makeup that he doesn't represent a distraction. Physically, he resembles Albert Finney in the 1970 musical – so much so that I was half-expecting him to start singing "Thank You Very Much" toward the end. There are a couple of times when Cap'n Jack peeks through (not welcome) and a few ill-advised moments of slapstick, but Depp is overall serviceable in the role. He is frequently outshone by his co-stars, however: McKellen, Riseborough, Tillman, and even Claflin. 

West obviously had a vision for Ebenezer, at least some of which was achieved. The film looks great, from the snowy streets of London to the eerie graveyard where Scrooge is buried. And, by fleshing out the ghosts just enough to make them slightly more than plot devices, West opens up the tantalizing concept of a new slant on A Christmas Carol. It's not something he explores in detail, but it gives the production a legitimate hook. The movie is at its strongest during Scrooge's long, nightmarish journey and at its weakest after dawn breaks. 

This is a creepier and more unnerving telling than most past iterations – not "family-friendly" unless your family has the name Addams. Ebenezer is good enough to stave off the boredom that often accompanies watching a translation of a timeless classic, but not good enough to make me want to watch it again.

Ebenezer (United Kingdom/United States, 2026)