Justin Kurzel’s Macbeth is Everything that is Wrong with Modern Shakespeare Adaptations

Macbeth

In an unnamed tented wilderness (seriously, you could’ve convinced me these people were living in Mongolian yurts) some psycho (Michael Fassbender – all grit and style, no substance) starts killing people to become king while his libidinous, depressed wife (Marion Cotillard – wasted) pines for their beautiful Guns-N-Roses music-video-style-photographed dead child (buried…or burned…in the opening scene).  Eventually the action moves to some moodily lit chapels and castles where I finally realized the growling and whispering actors were speaking with Scottish accents (except Marion Cottilard – who spoke with….a….what the eff accent?)

Macbeth is allegedly an adaptation of my favorite Shakespeare play and I had no idea what was going on most of the time.  Kurzel’s adaptation (which incidentally has some 1980’s big-hair metal band meets Game of Thrones style cinematography from the otherwise talented Adam Arkapaw that could fool someone into thinking they are watching something dreadfully artsy) is completely incompetent.  For the most part, the film is slavish to Shakespeare’s language (when it’s not cutting key lines), which seems like a good idea (umm, considering Shakespeare’s dialogue is like the best dialogue ever written in the English language) except for the fact it is spoken by otherwise award-caliber thespians with absolutely no sense of feeling or nuance or wit or…well…anything. Continue reading

A Review of Ron Rash’s “Serena”

With his ambitious novel, Serena, Ron Rash creates a new American legend.

The Great Depression enshrouds the nation.  In the Western Carolina highlands, George Pemberton and his indomitable new wife, Serena, are forging a powerful timber empire come hell or high water.  If someone or something gets in their way…there will be blood.  This is the milieu of dread where Ron Rash’s new novel, Serena, lingers.  Three things soon stand in Serena’s path:  her husband’s bastard child, Jacob; the child’s young mother, Rachel Harmon; and a groundswell of conservatism looking to incorporate the Pemberton timber tracts into a national park.  Thus two women come at a crossroads, both empowered by their innate wills to survive:  Serena feasting off her insatiable greed while Rachel is driven by the unstoppable love for her child. Continue reading