Ebenezer is the second Dickensian I saw back-to-back in the last seven days. This is Johnny Depp’s first major Hollywood movie since his widely publicized legal battles with his ex-wife, Amber Heard. Before this, he appeared in the 2023 French-language historical drama Jeanne du Barry, made outside the American studio system. At one point, after the three ghosts visit and his character wakes to discover he’s still alive, Ebenezer cheerfully says, “It’s good to be back.” It almost feels as though Depp himself is telling viewers he’s glad to be back in Hollywood’s good graces.

The 63-year-old actor is once again hidden beneath layers of heavy makeup, transformed by prosthetic designer Barrie Gower into an elderly Victorian miser. Depp is no stranger to disguises; altering his natural appearance has become one of his signature trademarks. He speaks in a rough, surly British accent that can be difficult to make out at times. His usual eccentricity is there, but it feels more emotionally grounded and less physical than his flamboyant turn as Captain Jack Sparrow. He holds himself stiffly, hunched and tightly wound to match the character’s grumpiness, while still keeping a mischievous glint in his eye—even as he delivers the famous line, “Bah, humbug!”

Directed by Ti West, best known for indie horror movies like the X trilogy starring Mia Goth, this is a far darker take on Charles Dickens’ Christmas classic than previous adaptations. West’s version is actually closer to Dickens’ 1843 novella, which is essentially a Victorian ghost story rather than a warm, cozy family movie. West and screenwriter Nathaniel Halpern even incorporated the book’s five “staves,” or musical sections, and the story leans heavily on gothic elements like rattling chains, cursed spirits, and eerie premonitions of death. The film earns its PG-13 rating and gets genuinely scary at times, so I think this one will appeal to horror fans.

Paramount’s tagline, “The name you know, the story you don’t,” promises a fresh and new take, but I found that narratively, the movie is quite conventional and not really imaginative. Despite its darker tone, the story unfolds in a straightforward way, falling short of the bold reinvention the studio seems to promise. I’ve seen a more imaginative take from a local theater in the Twin Cities. I’ve watched the Guthrie Theater’s adaptation of A Christmas Carol three times. It stays pretty faithful to Dickens’ text, yet I remember being more in awe of it than I was of this film.

That said, there are things to enjoy. As a fan of period films, I appreciate the Victorian settings, meticulously designed by Eve Stewart. I also love that the movie was filmed on location in England—in Kent, Hertfordshire, London, and elsewhere—making use of historic landmarks, preserved Victorian streets, and grand estates instead of relying entirely on soundstages. Checco Varese’s cinematography is beautiful, capturing an authentic Victorian atmosphere. Tyler Bates’s gothic, string-heavy score weaves in familiar classical holiday melodies with an eerie, suspenseful edge.

The character designs are pretty solid, especially for the first two spirits. The last one, the Ghost of Christmas Yet to Come, looks like a typical Grim Reaper. Before the first ghost shows up, Marley’s ghost warns Ebenezer. Sir Ian McKellen brings his usual gravitas and a memorable, theatrical touch to Marley, whose chain-rattling ghost feels more tragic than frightening. Andrea Riseborough’s portrayal and the specter’s blank-eyed, withered design are genuinely creepy, though I find her high-pitched voice unnerving and a little grating.

Tramell Tillman’s Ghost of Christmas Present is an imposing figure in a dark, feathered cloak. His version of the ghost is more temperamental, growing irritated with Ebenezer’s hardened heart. As the night unfolds, he grows increasingly grotesque, visibly rotting before Ebenezer’s eyes. A jump scare near the end had me leaping out of my seat.

The supporting cast is woefully underused, particularly Rupert Grint, Daisy Ridley, and Sam Claflin. The irony isn’t lost on me: Depp was effectively fired from the third Harry Potter spin-off, Fantastic Beasts: The Secrets of Dumbledore, while Grint is best known for playing Ron Weasley. In any case, Claflin at least gets a couple of memorable moments as Ebenezer’s warmhearted nephew, Fred, but Ridley is given practically nothing to do. I know the book doesn’t feature an interaction between Ebenezer and Tiny Tim, but I expected the Cratchit boy to have a bigger presence here. After all, in the original text, Ebenezer eventually becomes something like a second father to him. Freddie Lee-Grey is so adorable, and he doesn’t come across as sickly. Aside from a church service and a family dinner, the Cratchits feel like an afterthought.

The flashbacks to young Ebenezer (Arthur Conti) and his girlfriend, Belle (Ellie Bamber), aren’t especially compelling, though I appreciate that this version makes her an aspiring novelist, giving her more agency than in earlier adaptations. That choice also connects nicely with Ebenezer’s eventual redemption.

Overall, Ebenezer marks a compelling comeback for Depp, reminding us of his remarkable talent for bringing eccentric, unconventional characters to life. Whether he can still draw a major box-office audience remains to be seen, and this film will test his mainstream appeal. The movie is entertaining enough, though I doubt it will become a classic.