Cast: Cast: Johnny Depp, Rupert Grint, Ian McKellen, Andrea Riseborough, Tramell Tillman, Sam Claflin, Daisy Ridley, Arthur Conti, Ellie Bamber Review by Matthew Morlai Kamara
His gentle and underpaid clerk Bob Cratchit is played by Rupert Grint, while the legendary Ian McKellen appears as the ghost of Jacob Marley, Scrooge’s former business partner who returns on Christmas Eve with a dire warning. Marley’s spirit informs Scrooge that his selfish choices will lead only to regret and loneliness in the afterlife.
Over the course of the night, three distinct spirits appear to guide him on a journey. The Ghost of Christmas Past shows him the hopes and joys he has long abandoned. The Ghost of Christmas Present reveals the struggles faced by those around him, particularly the Cratchit family and their fragile young son Tiny Tim. Finally, the Ghost of Christmas Yet to Come shows him the bleak, lonely future that awaits if he does not change his ways. What unfolds is a profound journey of regret, revelation and redemption, as one man is given one final chance to rediscover his humanity before it is too late.
Ebenezer is the latest addition to the list of remakes of the Charles Dickens classic brought vividly to the screen. This version will give you the most haunting and atmospheric cinematic experience. Johnny Depp delivers a performance that will pull the audiences through an emotional rollercoaster. It’s genuinely refreshing to seeing him back on similar compelling form to how he was in his early career.
Where this adaptation truly excels is in it’s immersive world building. Director Ti West and his production team have brought the early Victorian era to breathtaking, gritty life. The streets look and feel dirty and fog-shrouded, populated not just by main characters, but by crowds of extras, who are portraying less fortunate individuals. Seeing the homeless figures lingering outside adds a visually, realistic element in the hardship of people living in that time period. The colour palette adds to that, leaning as it does towards greys, browns and deep shadows. This visual choice creates a dull, oppressive atmosphere against which the story’s emotional beats shine all the brighter. It is a masterclass in how environment can shape feeling and mood.
The music score composed by Tyler Bates is another standout element. It weaves a beautifully eerie atmosphere that complements the cinematography, while wardrobe, makeup and production designs are consistently impressive throughout
That said, this adaptation is not without its shortcomings. Certain moments intended as humour do not quite land as well as they might. There are also scenes where the pacing noticeably slows down, particularly during sequences featuring the three spirits. At times these scenes feel drawn out, zapping away the energy from earlier faster moments of the film. Subjectively the running time seems slightly too long, though objectively it is not excessive. Nevertheless these flaws do not ultimately overshadow what the film achieves.
It is impossible to watch this story without thinking of the late Sir Patrick Stewart, who inhabited this same role with such warmth and distinction. Seeing it brought to life once more stirs a quiet poignancy, a sense of respect for two very different interpretations of the same timeless character. Stewart’s version remains beloved, yet this new telling stands confidently on its own merits.
Overall, this is a haunting, atmospheric and respectfully told adaptation that honours its source material while carving out its own distinct identity. It does not shy away from the darker corners of Dickens’ London, and that honesty gives its message of hope all the more power.
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