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From the moment a blue baby is presented as the first image it’s clear this new adaptation of “Macbeth” will be a visual marvel. Even the onscreen text, which informs the audience that the rebel Macdonwald is trying to overthrow King Duncan, arrives with ample panache — the text pulls up to slowly reveal a red blood sunset and a silhouetted figure of our titular hero.
In Kurzel’s defense, the Scottish play seems peculiarly cursed on celluloid — both Orson Welles and Roman Polanski have also struggled to transfer the immediacy and vitality felt on stage to the big screen — and the young filmmaker comes closer than either of them to modernizing its appeal. This particular tale of sound and fury signifies more than nothing, but only just.
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