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Director Justin Kurzel has managed to craft, directly from the brilliant source material by William Shakespeare, an astonishingly original, searingly visceral, 'Malickian', and most importantly delicately intimate study into the mind of Macbeth.
The artistry and craft leaps from every frame of this film. It's fair to say that a person unfamiliar with either this play or the language of Shakespeare's time will have a hard time connecting…
Finally. Justin Kurzel has finally delivered the dark, gritty, and bloody adaptation of Shakespeare's Macbeth that we've all been waiting for. But he brings us so much more than just grit and gore. Oh yes, the cinematography is simply spot on perfection, it's a crime that this film wasn't nominated for that alone. When Fassbender wins the Oscar this year, I'm going to pretend that it's for this film, because he was nothing short of amazing.
I am honestly shocked that this film hasn't received a lot of recognition from the major award ceremonies. Even though the dialogue gets somewhat incomprehensible at times, it's been a while since I've seen such a grandiose, brutal, profound, electrifying journey, with a cinematography that truly takes your breath away. As expected, Michael Fassbender and Marion Cotillard are brilliant here and I must say the performances are some of their best work without a doubt! Heck, kudos to all the…
Beginning the film with a confirmation of the monumental loss of a child the Macbeth's suffer (only ever briefly implied in the text), this recontextualizes their horrifying royal intrigue actions with unhinged grief-stricken emotions and portent expressionism regarding cycles of fated generational violence. All the Tarkovsky-inspired imagery is drop-dead gorgeous of course, but the real power is in how Kurzel uses it not just as beautiful stage direction but to formally move Shakespeare into the realm of dreamlike opera. Muting…
In my opinion, Macbeth contains what is undoubtedly some of the greatest camerawork in the history of cinema; Adam Arkapaw is the true star of this film (not that Fassbender and Cotillard don't knock it out of the park) and with this, TD s01, Top of the Lake, Lore, Snowtown, Animal Kingdom and Apricot, he has solidified himself as one of the world's finest cinematographers.
This and The Assassin are, visually, the two most gorgeous films you'll see all year.
Eagerly awaiting Assassin's Creed, which I think will be even better.
The movie itself made me want to die. It's so fucking uninteresting! I wanted to love this film, and it bored the living hell out of me. I felt nothing. This whole thing drags along, and there's nothing happening. It got so bland for me that I just stopped caring or watching. I was basically watching the film with 25% focus. This movie is basically like a very nice painting but it…
Lovely even if it's stylistically cribbed from just about anyone you care to name: Polanski, Ridley, even the dread Neil Marshall. And yes, overdetermined, but you know, it's "Macbeth", the granddaddy of endless portent and impending doom. This crucially adds an invented opening moment that becomes a motif, recoding the entire story as one of parental grief rather than misguided ambition.
You heard it before and you'll hear it again-- Macbeth is the most visually stunning film this year. Justin Kurzel must be a very disciplined director and Adam Arkapaw must be a very talented cinematographer (both, I shamefully admit, am not familiar with before today). From start to finish this film just keeps shooting giant, marvelous eye candies at us, so visually stunning my ears couldn't hear anything other than the sound of diabetes charging for me. Michael Fassbender is…
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