*NEW* MACBETH REVIEW *NEW*

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I think I’d rather fill my mind with scorpions than sit through this again.

Despite a powerhouse performance by Fassbender, Justin Kurzel’s adaptation of the renowned Shakespearean play didn’t quite do it for me.

Macbeth (Michael Fassbender), the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland (David Thewlis). Consumed by ambition and spurred to action by his wife (Marion Cotillard), Macbeth murders his king and takes the throne for himself.

Fassbender (Steve Jobs) was brilliant. I couldn’t think of anybody better to take on the iconic role of the demented King. This adaptation brought back school boy nostalgia. Unfortunately NOT in a good way. Macbeth is certainly not the best Shakespearean play to break into for a newbie. This only reminded me of what an arduous chore it was to analyse and decipher the soliloquies back in GCSE English just to get the gist of what was going on.

Adam Arkapaw’s cinematography was sublime. It really made the murky Scottish back drop a sight to see. After a strong and graphic opening with the Thane claiming victory on the battlefield, the film soon set off on a snail’s pace. The elongated panning shots. The long stares. I could feel my eyes drooping.

Maybe I wasn’t as much of a fan as I thought. I preferred Kenneth Branagh’s adaptation of Hamlet. An overtly lavish and grandiose affair BUT at least it was riveting and mesmerizing. For a story of betrayal, greed and madness, not a lot happened. A lot of the gruesome stuff was told in the horribly droll speeches and never shown. That’s not to say I need gore to keep my attention BUT it was incredibly hard going, dull and drawn out.

As much as Fassbender’s performance kept things watchable, I felt Roman Polanski’s 1971 version tackled the subject matter a lot better and was much more engaging and accessible. The screenwriters tried to make little changes BUT it just didn’t work. The witches’ coven, for example. I always remember there being three. Instead we have an ensemble of women and children. BUT what was the relevance? None, apparently. Even more ironic when only three of them spoke.

Paddy Considine (Dead Man’s Shoes) wasn’t in this enough as Banquo. His absence was sorely missed in this lifeless affair. David Thewlis (Seven Years in Tibet) had the easiest job going as Duncan. He didn’t do a bad job for the two scenes he featured in.

Marion Cotillard (La Vie en Rose) was the perfect choice for Lady Macbeth. A role I hoped she would sink her teeth into BUT she was far too passive and weak. I always perceived Lady Macbeth as this devious and influential mastermind. BUT in this adaptation, she did absolutely nothing. A shame. I’m not sure whether it was the writers or Cotillard’s interpretation of the role BUT it didn’t work and she didn’t deliver the lines with enough conviction.

It was strange to see Sean Harris (Prometheus) as a good guy. BUT his demeanour and performance as MacDuff made me root for Macbeth more. By the end of the play, I knew Macbeth had lost it. BUT whether it was down to a lack of chemistry from Harris or too much charisma from Fassbender, the drawn out combat sequence was a real challenge as my loyalty was already decided NOT torn.

I don’t think I’m going to be able to wash my hands clean of this mess. Tough viewing. Any newbies thinking of trying to approach Shakespeare on the big screen may want to steer clear. This is one for the die hards.

2.5/5

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*NEW* REGRESSION REVIEW *NEW*

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Regrezzzzion

The only thing this film made me feel was aggression. Two stars for the two leads.

A father is accused of a crime he has no memory of committing. Cue a dull by the numbers mind-number of a thriller.

The trailers didn’t give much away BUT as soon as I saw that it was penned by Alejandro Amenabar and starring Hermione from Harry Potter, I thought why not?

What a mistake. I expected Regression to be in a similar vein to The Others. Slow burning with a tense but thrilling finale. Tragically, this was just slow. Hawke’s detective desperately kept things watchable. Only because his character was so laughable. His volatile mood swings made for unintentionally comical viewing.

The premise behind the regressive hypnotherapy had potential but it never really got going. David Thewlis did his best to make the psycho babble engaging BUT all it did was reduce me into a hypnotic state. It took a good 30 minutes before anything of real merit grabbed my attention.

I couldn’t care for the crime aspect of the story. Mainly because it was so generic and formulaic. Hawke certainly did his best but the red herrings were so lazy that I was a little insulted. And poor Emma Watson. A talented actress. Reduced to a nothingy role that anybody could have played. The only thing I could applaud was her impeccable accent. She was either crying or spewing uninteresting bile and repeating the same old story that wasn’t that engaging the first time. A waste.

Thankfully the middle act offered some redemption for this shambolic dud. The supernatural element behind a suspect cult was the much needed catalyst. Something that Amenabar has always excelled at. So why didn’t he put in more of it?

45 minutes in. I was finally intrigued. Hawke’s headphone sesh around a dilapidated warehouse was tense and unsettling. A brilliant scene as Watson’s commentary juxtaposed with some creepy images really put the heebie jeebies into the demented rituals that were supposedly re-enacted in this messed up crime scene.

Amenabar delicately teased the darker intent of this mysterious cult. Torture, sexual abuse and horrific sacrifices. That and Hawke’s paranoia and obsession did just enough to keep me from walking.

At first I thought Daniel Aranyo’s cinematography was a little too dull and murky for this lifeless flick. BUT he was finally able to get a little more creative. Hawke’s dream sequences were slightly Kubrickian in their execution. Especially when he wakes up to the hooded white faced Dementors surrounding his bed. There was also another scene that was a perfect homage to Rosemary’s Baby.

Dale Dickey (Winter’s Bone) was probably the only other character that made a memorable impression. She played the grisly grandmother with aplomb. If anything there wasn’t enough of her. She really stole every scene she was in. And for all the mystery, I expected more to be made of her character.

And that was the problem. The real horror after a promising second act was that it was all for nothing. The finale was terrible. The revelations were tragically predictable. It took a direction I really hoped it wouldn’t and with a twist you could see a mile away.

I can see what Amenabar was trying to do BUT it ruined the film. And the ‘Based on a True Story’ end credits undermined the whole piece for me. If not for Hawke and Watson’s involvement, I honestly don’t think this would have graced the silver screen. If anything, this is the sort of paranormal cold case story I see constantly featuring on the numerous channels of my Sky box.

Shame.

2.5/5