Macbeth

I have to say Im beginning having trouble distinguishing between these artsy films the last couple of years because so many use the same portrayal and cinematography. Bleak, minimalistic scenes, often used black/white portrayals, filled with "symbolism" and "methaphores" that are either so plain and on the nose its sad or only understood by the creator.

Also the actors all acting with their emotions on 11, with it all being depressing seems to draw praises and Oscars like the best of baits. Never mind the dreary, long and uninspired monologues (or dialogues if "lucky").

Doesnt anyone have any original ideas anymore? Cant you portray Macbeth in a new, original light and add something new to it, shape it into a form(format we havent seen yet, make it appealing to newer and/or younger audiences. Make it entertaining, informative, moral and multilayered.

Always making these dark, minimalistic and overboard in every aspects productions has gotten beyond boring, bland and a work to get through.

Cinema should be inviting, exploring, adventerous, imaginative, new... This is NOT that, not by a long shot, it is a deja-vu of numerous productions past.

Joel Coen brings a low key Macbeth. It is shot in black and white with minimum staging. There is some clever use of special effects and CGI.

To my mind it bears comparison with Orson Welles inexpensive version.

This is not a low budget version and it boasts heavyweights both behind and in front of the camera. Joel Coen, his wife Frances McDormand and Denzel Washington have 10 Oscars between them.

Denzel Washington as Macbeth starts out as low key before being consumed by his thirst for power as he is approached by the witches. (A contorted performance by Kathryn Hunter.)

To becomes the King of Scotland, he overthrows King Duncan (Brendan Gleeson) with the full support of the scheming Lady Macbeth (Frances McDormand) who likes the idea of becoming Queen.

Macbeth's corruption and paranoia invites revenge from Duncan's heir and Macduff. There is civil war in Scotland.

The text is dense but the film remains accessible. Coen has kept the play stripped down and stagebound.

Lady Macbeth who starts as clever and crafty becomes slowly mad to match her crazed husband.

Hunter shines as the witches. There are good performances from Bertie Carvel as Banquo and Alex Hassell as Ross.

There are a range of accents on offer in the movie, but very few Scottish ones.

I'm usually not a huge fan of Shakespeare on screen, but "Macbeth" is my favorite Shakespeare play, so that combined with my curiosity about what Joel Coen would do with the material drew me to see this one. It's really good, and it fully embraces what I like best about the play, its twisted and macabre aesthetic. Coen goes all in on atmosphere, and this has to be one of the most gorgeous looking movies released this year. Rather than try to open up the work for the screen, he instead goes the opposite direction, making this film look purposefully artificial, like it's being performed on the grandest of theater stages.

The acting is superb all around, but it's Kathryn Hunter, playing a variety of characters throughout, including all three witches, who walks away with the movie. I was slightly disappointed with Frances McDormand as Lady Macbeth. It's not that she's bad, it's just that this is such a juicy role and I felt like an actress as formidable as McDormand could make something truly memorable out of it, but instead it's a serviceable but uninspired interpretation. If you want a really memorable version of the Lady Macbeth character, take a look at Isuzu Yamada's take on it in Akira Kurosawa's "Throne of Blood." That performance will make your hair stand on end.

One of the things I never like about Shakespeare adaptations is that they always feel so stage bound and insular, no matter how much writers and directors try to make them fit a cinematic medium. "The Tragedy of Macbeth" also feels stage bound and insular, but since Coen decides to film it in a way that enhances its artificiality rather than try to compensate for it, I enjoyed it much more.

Grade: A-

I really, really, really wanted to love this movie. I have taught the play before and have a good feel for the material, but even I found it to be inaccessible.

The Coens (even though this is just Joel) are my favorite directors, the cast is incredible and the vibe certainly resonates, but even then I found it to be hollow. I was waiting for that Oscar moment from DENZEL, but it looked like he was contained throughout the production.

I will certainly review the film - with subtitles - to see what that does, but I walked out feeling empty. I thought this would walk away with film of the year, but I don't think it'll even end up in the Top 5 or 10.

Maybe I am the idiot looking for the Sound and Fury that should accompany one of best tales of all time.

The premises remains what can expect from a new version of Macbeth. Sure, for me, to see Denzel Washington, Frances McDormand or Brendan Gleeson in the roles who I know. To discover the vision of Joel Coen about the Shakespeare's play . To expect , in fact, nothing , because what can be said was , in wise, brilliant and precise manner said by previous adaptations ?

The result - impressed by cinematography , having new proof about the admirable artistic skills of Denzel Washington, the precise portrait of lady Macbeth created by Frances McDormant, beautiful Banquo of Bertie Carvel ( maybe, too much make up )

Brilliant - off course- for the flavors of old BBC adaptations, for the illusion of animation in few scenes, for black and white clash , for a Macbeth, Seyton, Angus and Macduff in dark skin and the thought to an Othello acted by an Albino actor.

Admirable for cinematographic solutions and for the certitude than Denzel Washington deserves his Macbeth with high measure. Because he gives just the great force to his role.

The music is inspired, the solutions - the case of witches - admirable animated by Kathryne Hunter is good example are the source of appreciation, in same measure.

Short, I admitt - it is a film who I love. For great use of cinematography, for solutions for details, for poetry of locations, for the wise reflection of each crumb of tension.