Johnny Depp has made a powerful return to Hollywood with the dark Gothic reimagining of A Christmas Carol, marking a major comeback in his acting career.
In the world of Hollywood, nothing is more seductive than a comeback. For Johnny Depp, that moment has now come at a grand scale. The actor’s evolution from European art house cinema to a big studio production such as Paramount’s “Ebenezer: A Christmas Carol” is a remarkable twist in his career, combining his artistic roots with broad commercial appeal.
Set for theatrical release on November 13, 2026, the movie claims that it’s a “riveting, terrifying reimagining” of Charles Dickens’ 1843 classic novella. This version explores the eerie supernatural origins of the traditional tale and turns it into a thriller ghost tale somewhat reminiscent of more traditional holiday the theatre narratives.
From Ti West, the visionary behind the acclaimed atmospheric horror gems X, Pearl, and MaXXXine, comes this take that is sure to be a “technicolor nightmare.” West’s talent for infusing psychological terror into period pieces makes him the ideal auteur to reimagine Victorian London as a desolate, alien, and horrifying place.
Depp is set to take on the role of Ebenezer Scrooge, a character he has been a longtime fan of, particularly Alastair Sim’s 1951 version. But sources say Depp has a “different angle” in mind, emphasizing the internal haunting rather than the external, and the emotional heft of a “night of reckoning.”
Paramount isn’t just banking on Depp’s “bankability”; they’ve surrounded him with a “who’s who” of franchise royalty that it will surely cover all demographic bases.
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The timing of this release is a lesson in studio politics. Releasing in mid-November, Paramount sidesteps the December “family film” stampede and gives this supernatural thriller a chance to build a long-term presence on the box office. It also makes Depp’s return perhaps the key event of the 2026 awards season.
Strangely, this will set up a “Scrooge Showdown,” as Warner Bros. is said to be working on its own shadowy version with Robert Eggers (The Witch). Yet with West’s gift for “elevated horror” and a screenplay by Nathaniel Halpern, Paramount takes the bait as the “thriller” audience to catch.
The story of Ebenezer Scrooge’s turnaround feels especially powerful when taken alongside Johnny Depp’s career trajectory. It’s a curious layer to the film’s overall appeal, as moviegoers may be swept into a compelling fictional redemption arc while Depp makes a real-world career comeback, merging storytelling with the actor’s personal and professional revival. This two-faced approach not only adds narrative depth but also gives the marketing strategy an extra layer of tactical complexity.
Depp has a busy schedule and Ebenezer has only one date. He just finished the Lionsgate thriller Day Drinker with Penélope Cruz and the makers of his directorial effort, Modi, are seeing the light of theaters.
Ebenezer: A Christmas Carol doesn’t have the feeling of being a routine adaptation, as much as that can be said about any retelling of that story. In bringing together Johnny Depp’s long-promised return to studio filmmaking with Ti West’s unsettling vision, Paramount is going to go with atmosphere over nostalgia, and introspection over sentimentality.
The film’s darker perspective along with the prestige-laden cast and strategically timed release makes the film a commercial risk and an awards season conversation piece.
More to the point, it turns a well-worn ghost story into something deeply resonant and of the moment — a story of reckoning, isolation, and second chances. If it sticks, it won’t just be Depp’s comeback, it could be a way of reimagining how classic literature can be adapted for modern, thrill-seeking audiences.
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undertone Review: A24’s chilling psychological horror turns silence, family, and familiarity into fear, resulting in one of the studio’s most unsettling films.
The majority of us thought the lockdown years were pretty exhausting, but director Ian Tuason made that isolation a nightmare—the good kind. His new film, Undertone, is currently the buzz at Sundance, and it’s easy to understand why. It’s a scary, sound-centered psychological horror that came from real-life anxiety and a house that could possibly be haunted now.
We’ve all been there—crashing at your parents’ place is not whatever you’re picturing it’s going to be. But for Tuason, it was a necessity so he could tend to his ailing parents.
In an interview with Variety, he shared his experiences of where he got the idea. While he was there, he began to consider what makes us feel safe —and what happens when you flip that on its head. The Exorcist concept (taking a “safe” daughter and making her scary) and applied it to his own life.
“My mind is stuck on ‘The Exorcist’, how it scared me so much when I was a kid.”
–He said
He wondered, What if my mom, who relies on me, starts speaking in a different voice? That dark thought transformed a simple podcast script into a feature film. He even shot it in his parents’ house to save money, but it came at a price. Living on your own horror set meant he never felt truly alone, and he said the house began feeling “haunted” well after the cameras stopped rolling.
Undertone is distinguished by its sound. The lead, Evy, is the host of a podcast, and the film plays with your ears. Tuason engineered the sound as if you are wearing noise-cancelling headphones.
“Do you know that weird silence level where you have no clue what’s happening in the room behind you?”
–He said
That’s precisely what he employs to frighten you. The film oddballed the sounds that Evy hears on her tapes and the sounds that are really in her hallway.
The hype around Undertone is deafening and it seems like the biggest names in horror are officially placing their bets on Tuason. That’s just the beginning: A24 has already acquired the film and scheduled a March 13 release.
The legends behind Blumhouse and Atomic Monster (the producers of Insidious and The Conjuring) are the ones who brought in Tuason to give the Paranormal Activity franchise a revamp. It’s a complete full circle moment for a guy who started out recording spooky noises in his childhood bedroom. If he can make a DIY movie at his parents’ house this scary, then we can’t wait to see what he does with a Hollywood budget and the keys to one of the biggest horror series in history.
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Undertone confirms the greatest horror has never been monsters or jump scares—it’s familiarity. By weaponizing a childhood home, a parent’s voice, and silence itself, Ian Tuason crafts a deeply personal and unsettling journey. Its choreography of sound is so perfect that it’s a movie to watch with headphones, each whisper feeling invasive and intimate.
With Sundance buzz, an A24 release, and major horror studios lining up to back Tuason’s next project, Undertone is not just a powerful first feature—it’s the introduction of a filmmaker who gets that the real horror is right at home.
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James Gunn confirms a Supergirl teaser drops this week Millie Alcock is set to make her feature debut in the DC film, which is due in cinemas on June 26, 2026.
Now, the moment fans of the DC Universe have been waiting for is about to arrive. James Gunn, the visionary director and co-head of DC Studios, has just confirmed that the official Supergirl teaser trailer will be released this week. Following months of excitement after Milly Alcock’s shock debut in Superman, the Girl of Steel is ready to take centre stage.
The buzz surrounding this announcement is sky high. Ever since Alcock delivered that memorable cameo near the end of the Superman movie crashing into the Fortress of Solitude after flying on red-sun planets — fans have been begging for more. Her entrance immediately establishes the tone for a woman markedly different from her cousin, Clark Kent. Where Superman represents hope and positivity, Supergirl seems like a more layered, quixotic, even fascinating character.
The “Look Out” marketing tag line is a pun on and a signpost to this departure from the “Look Up” Superman campaign, and it indicates that Kara Zor-El is the source of whatever new attitude is taking hold of the DC Universe.
Gunn’s confirmation comes after a massive bombshell at WB’s CCXP25 where they previewed fans with Supergirl’s official costume as the world is built with themed vignettes.
The studio certainly went all out to drum up excitement for the next big chapter in the franchise. In releasing the teaser trailer this week they are also tapping into that buzz and making sure people are talking as we get closer to the film’s release on June 26, 2026.
The character has long lived in the shadow of Superman, playing a secondary role for much of its existence. However this new version of Supergirl, based on the acclaimed “Supergirl: Woman of Tomorrow” story arc, will be about giving Kara Zor-El her own adventure. From director Craig Gillespie (I, Tonya) — who is also co-writing the script alongside Zach Dean — this one is being described as a space adventure with emotional impact and complexity. James Gunn has also previously teased that Supergirl will be a cosmic journey fans have never seen before.
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The teaser trailer was originally posted on social media, offering fans their first look at Milly Alcock as Kara Zor-El. Alcock, who won hearts with her portrayal in House of the Dragon, offers a new angle to the role. When she was cast, Gunn himself praised her ability, saying he was “blown away” by her auditions and screen tests.
With an amazing cast led by Jason Momoa as anti-hero Lobo, Matthias Schoenaerts, Eve Ridley and more, this movie has the potential to be something really special. The arrival of Krypto, Superman’s super dog, offers one more connection to the broader Kryptonian lineage being developed in this new DC Universe.
The announcement that the Supergirl teaser is coming this week is the DC Universe revitalization moment. Milly Alcock as a fearless, emotionally layered Kara Zor-El, and James Gunn at the helm of the grand creative vision – it’s clear this franchise is priming itself for a new tonal shift. Whether it’s the CCXP25 costume reveal or the “Look Out!” tagline, everything points to a character and a movie that wants to live outside of Superman’s orbit and find her own place in the cosmos.Supergirl: Woman of Tomorrow could be one of DC’s best defining cinematic moments yet.
