Macbeth

An experiment. present so often in theater. vision about a classic play of a director. to define it as bad or good is, in essence, a question of taste in this case. for me, it is an eccentric proposition.nice for Akiya Henry as inspired Lady Macbeth and for beautiful game of scenography. for the desire to create a large perspective about play universe. the only sin - impression of easy way. the mix between film and scene, the photography reminding the art gallery , the dark spaces and the portrait of Macbeth - Mark Rowley is not the best choice for the lead role - are , in too many moments, only nice tries for be original. all defines it as not exactly an adaptation for a new century but as a form of sketch "ad usum Delphini" . or Macbeth, against time, generations or taste remains Macbeth. but, sure, it could be a film for lovers of challenges. a not bad one. but to obvious be "original".

Of course Shakespear adaptions are hard to judge, but I'm a bit surprised to see such low rating on this one to be honest. The actors are top class, the cinematography is simply brilliant and the soundtrack by Jed Kurzel is out of this world.

Macbeth is an old classic, and this film re-tells the story in a very creative, fresh way, utilising modern techniques to produce something original and engaging. it combines film-making with a theatre vibe, which is really interesting. nice to watch something different that breaks the mould. the performances of the main actors were great too. give it a watch.

--Fantastical adventurous retelling. Made for the ever changing scope of cinema and the viewers of this millennium, not yesterdays. Some may call it the worst adaption; but one would have to assume that they are the type that believe theater should remain the same as thousands of years ago and never change. If Shakespeare had technology of today I would believe he would create similar shows with great sets and costumes with surreal backdrops and not consider such work as amateur or savage. In other words He would not work out of a textbook for the way that theater was eons ago. The Greater the Vision, the more people get left behind. That is exactly where they should be left, behind.

The thing about adapting Shakespeare, and especially a play as well known, regularly performed, and often adapted as 'Macbeth,' is that as a director a fair bit of the work is already done for you. Unless you aim to substantially revise some aspect of the play for a new vision, then the groundwork for the story, dialogue, characters, and scene writing is already laid in; unless you're changing the setting, the basic conceptions of the art direction, costume design, hair, and makeup are already established. The great challenge is to be faithful to the source material while leaving your own mark on the legacy of the Scottish play, and to that end some directors have been more successful than others, in various ways. So what of filmmaker Kit Monkman and his 2018 interpretation?

I appreciate the gumption of trying something different. No matter how highly esteemed a tale may be, there comes a point where complete mimicry from one iteration to the next becomes stale and uninteresting. Even if some come off better than others, or weaker, no one can say that any cinematic realization of 'Macbeth' to date isn't readily distinguishable in some way (or multiple ways) from its kin; contrast this with the average formulaic TV movies on certain networks - the thrillers of Lifetime, the romances of Hallmark, the monster flicks of SyFy. And so it is, too, with Monkman's picture; this definitely looks and feels like a creation all its own, even as the screenplay is, broadly, extremely familiar. However, there does come a point where creativity can go too far and supersede story, or when choices of style are made that do not come off as well as anyone thinks they do. Unfortunately for Monkman, both these notions apply to his 'Macbeth' from the moment we press "play."

In the art direction, in the proliferate computer-generated imagery that defines the "sets" and otherwise visuals, in the waxy, plastic sheen that is laid over top the fundamental sights before us, and in the cinematography, there is a plainly evident effort to accentuate the artificiality of the presentation. We see, for example, the cheeky, stacked depictions of multiple characters in multiple rooms in the same structure, a method that Wes Anderson commonly employs (e.g., the diagram-like view of the submarine in 'The life aquatic with Steve Zissou') - if Wes Anderson opted not for colorful splendor but the overproduced falsehood and Grim Dark color palette of Zack Snyder. We watch the camera sweep, sway, and zoom over digital creations as obvious in their unreality as the ruined Earth of the 'Matrix' films, the distant and otherworldly realms of Marvel or DC superhero flicks, or the most carefully rendered environments that big budgets can achieve in modern videogames. I take no issue with the relatively austere appearance of settings themselves (the rooms in which scenes take place), or of the costume design, hair, and makeup; on the other hand, given the overproduced nature of the title, and its forward inauthenticity, such comparatively unsophisticated facets come across as false modesty, and in turn serve to amplify the sense of fabrication. Sometimes Snyder is too restrained a point of reference, for The Asylum also comes to mind throughout these two hours.

Clearly the idea was to update a seventeenth-century play with twenty-first century aesthetics, and perhaps to introduce William Shakespeare to new viewers in this fashion. Only on an individual basis can the success of this endeavor truly be judged, yet to me the attempt rings desperately hollow. The substance of the classic is lost in the push to dazzle us with unremitting flair, and our engagement is easily and quickly forsaken; the dark, bloody, compelling spectacle of ambition, prophecy, conspiracy, violence, and death is subsumed by the empty spectacle of green screen phoniness and otherwise unimpressive adornments. Only if this had been rendered in 3D could the effect have been more regrettable. Yet would that the problems began and ended with the imagery, for they absolutely do not.

I can't say to a certainty how much of the trouble here can be attributed to the cast, and how much to Monkman. I trust that the cast would prove themselves if given the opportunity elsewhere, and assume that the direction is mostly to blame, but then maybe Monkman was just struggling with this project. One way or another, most scenes as they present, and the acting at large, simply do not look good, even putting aside how they fit into the garish visuals. 'Macbeth' is a play characterized by fiery passion in most any treatment; here most scenes are rendered with a terribly flat, dull tone. Sometimes the actors are straight-up mumbling! Very, very rarely does it feel like the acting and direction are firing on all cylinders and producing the desired result - so rarely that I couldn't even pinpoint where it happened. There are also times when the acting impresses, but the direction guides that performance in an ill-advised direction; I think chiefly of Akia Henry's performance of Lady Macbeth's big scene at the beginning of Act V, filled with superb, gut-wrenching emotional depths, which is then somewhat hamstrung by Monkman's oversight. Conversely, there are also instances when the acting is so overcharged that the outcome is laughable; in the banquet of Act III, for example, we so handily discern the difference between the acting we should see, and the chewing of scenery we're given instead, that actual Scotsman Mark Rowley, portraying the titular character, sounds more like an American badly trying to imitate a Scotch accent.

Monkman and his co-writers notably and considerably alter some dialogue and scenes, but I don't think this is particularly worth discussing, even as I abjectly disagree with many such decisions; this is the nature of adaptation. There are actually some good ideas here, I think, in the man's conception of bringing life to a new 'Macbeth.' Yet the production was geared so heavily toward Slick And Cool visuals (okay, maybe Paul W. S. Anderson is also a reasonable comparison) that any useful, enticing ideas that the conception may have borne are stretched thin and torn asunder. Add to the overwhelming, overbearing falseness the flailing faults of acting and direction, and watching this feature becomes a laborious act of sheer force of will. I'm glad for those who get more out of this than I do, and I repeat that I do appreciate the basic notion of trying something new with material that's tried and true. I also firmly believe that those who do earnestly admire Monkman's version should subsequently watch at least two or three others - any at all - to get a far better, far more meaningful sense of what the Scottish play is, and can be, and should be. This 2018 title can claim the benefit of some skill, intelligence, and imagination behind it, but as far as I'm concerned the simple fact of the matter is that these advantages and all energies were bent toward the exact wrong qualities, and the picture suffers in turn. This 'Macbeth,' sadly, doesn't nearly make the grade.