Since the beginning of cinema history, Shakespeare's "Macbeth" has been an obsession for filmmakers as it not only gives tremendous opportunities for actors to showcase their best work but allows directors to seek out a means of reinterpreting the literary classic into a modern and relevant way. Iconic interpretations have come from such filmmakers as Roman Polanski, Orson Welles and Akira Kurosawa to name a few and they have been recorded as some of the most important films of all time. This year Justin Kurzel brings his interpretation to cinemas with an outstanding cast and powerful visuals that add another dynamic adaptation to the Shakespeare canon.

For those expecting a radical and modern interpretation of the play, Kurzel has kept it quite traditional with some cuts and a few new insights. For example Kurzel and his screenwriters have decided to give Macbeth and Lady Macbeth a child. The film actually begins with their child's funeral, and it only adds to the tragedy of these two characters. Their ambitions and jealousy are heightened as every other character around them seems to have a child or heir and the Macbeth's are by consequence consumed by bitterness. Banquo has Fleance, Duncan has Malcolm while Macduff has children, who Macbeth assassinates. Even the three witches have "daughters" that follow them around. At the beginning of the film they have one daughter but towards the middle another baby girl appears and that child is held by them throughout the rest of the film.

Another interesting insight that Kurzel has added is the sexual tension between Macbeth and Lady Macbeth. In the couple's first interaction, the two have sex as they plan Duncan's murder, something that has rarely been seen. It is a moment that is clearly driven by euphoria, highlighting the fact that these two characters are driven by passion instead of intellect. This will prove to be their downfall as later scenes show that they were clearly not prepared to take on the consequences for murder.

The theme of sexual tension takes on an interesting twist as Macbeth plans Banquo's murder. While he seems to be excited by the prospect, we see his wife more withdrawn and reticent. She lets him touch her, but does nothing to elevate the excitement. It not only adds to his uncontrolled state but also shows the separation between the two characters.

One of the interesting things that Kurzel changes from the play is Duncan's murder. In the play Macbeth kills the king without anyone noticing. However, in this version Malcolm sees the murder and instead of saying anything, Macbeth threatens him forcing the heir to flee. In many ways it adds to Malcolm's motivation for vengeance, filling out the character as a coward who finds courage. However, Macbeth's direct reaction also shows that the murder is his plunge into mental lunacy.

Finally, Kurzel adds a religious element to the film. Lady Macbeth is seen in the first scene praying and then, as she recites the letter from her husband, she is in a chapel. Her final sleepwalking scene is far from the expected. Instead, she sits in that same chapel hallucinating; there is even a suggestion that she is trying to obtain forgiveness from a higher being.

Kurzel's sense of structure is quite potent. Many cinematic interpretations forgo showing the opening battle of the play. However in choosing to portray it, Kurzel manages to create a bookend structure around the opening fight that proves to be Macbeth's downfall and the final one, which is in many ways a redemption of sorts; subversions of how these events are actually delivered in Shakespeare's words. Showing the two battles also allows the viewers to peer into Macbeth as an individual. He is not a murderer in the opening fight, standing around for most of it while perplexed by the view of the witches. Yet ironically he is the aggressor and the one who ends the fight. In the second fight, he is not the aggressor but we see him at his most active and potent, battling to the death with Macduff. Those who know how the play works out, know that Macbeth is not the one to end the fight here, but the means of delivering the final blow provides the film's surprising and cathartic twist. These emotional beats and details are further enhanced by the choice of shooting the battles in slow motion for long portions; some might find the initial slow motion irritating, but when coupled with the ending's slow motion, the stylistic choice becomes a narrative framing device, and a great one at that.

One of the most striking visual aspects of the film is the costumes by Jacqueline Durran. From the beginning Macbeth is always enshrouded in black. His face is painted with black stripes and his armor is all black. The same can be said about Lady Macbeth, who is also introduced in black, her face often hidden from view under the veil or in shadows. These blacks are obviously a reference to the serpent underneath that Lady Macbeth draws on to inspire their murderous deeds.

However, what is interesting is that once Macbeth is crowned king, the two wear white for the rest of the film, almost an outward appeal of innocence. Lady Macbeth's first white costume is elegant and brings out a royal demeanor. In many ways throughout this middle section, it shows Lady Macbeth's refusal to kill anymore. However, as she becomes ill those elegant white costumes become white robes creating that unkempt feeling.

Macbeth's white wardrobe consists of a robe that is far from royal dress. It is enhanced in a montage where the king is running around his chambers in the most unpredictable of manners. The character eventually returns to the black murderous wardrobe at the end of the film and his face is once again covered in black stripes.

Adam Arkapaw's cinematography is also important to note as it provides many poignant cues. His use of reds throughout the final battle are a reminder of the blood spilled for a crown while his use of the handy cam allows for an off-kilter tone.

The performances by Michael Fassbender and Marion Cotillard are top notch and demonstrate ferocity and incredible chemistry. Fassbender's Macbeth is clearly a suffering character, a reluctant hero even. While he is awarded the position of Thane of Cawdor, Fassbender looks down, almost unhappy at the prospect of fulfilling this prophecy. When he says goodbye to Banquo, a closeup catches Fassbender's Macbeth look over at the innocent Fleance in the background. In a subtle moment, Macbeth chokes up a bit and seems to stumble a little over his line, a small but powerful reminder of his humanity. Yet this humanity slowly dissipates and is taken over by sheer insanity. As he begins to murder, Fassbender becomes unhinged and this is seen in the Banquet scene when he sees Banquo's ghost. Fassbender throws himself to the ground and is cornered by the illusion. Another scene where his insane Macbeth comes to the forefront is in the aforementioned montage where he runs, walks, plays with dogs in his chamber without any control; this is exaccerbated by the fluid jump cuts employed. Throw in another scene in which he publicly murders children, and you really see the progression of the depressed hero to a raving lunatic. Toward the end of the film, the suffering returns especially in the final moments as he accepts his destiny.

Cotillard is an interesting Lady Macbeth. She is a seductress and a manipulator. This is definitely seen in their sex scenes as she instigates the murder plot. However, unlike some Ladies she has a conscience and that is directly seen when she walks into the tent where Duncan is murdered. Her reaction is one of terror as it is clear she did not know what she was getting into. As her Lady Macbeth develops she tries to stop Macbeth from more murders while still protecting him. It is demonstrated as Macbeth plans Banquo's murder. Cotillard uses the line "What's done is done" to try and persuade him against another crime. Cotillard's Lady increasingly becomes vulnerable and this is best displayed when Lady Macduff is killed. She looks at Macduff's children and Cotillard's facial expression shows a tortured and suffering woman suffering the guilt of her own impulsive actions.

The rest of the cast is led by Jack Reynor as Malcolm, Sean Harris as Macduff, David Thewlis as Duncan, Elizabeth Debicki as Lady Macduff and Paddy Considine as Banquo. All of them deliver equally memorable turns of the iconic characters, particularly Harris, whose initial reaction to Duncan's death is one of powerful shock and then excruciating pain. Instead of a dramatic cry on the famed "O horror, horror, horror! Tongue nor heart Cannot conceive nor name thee!" his delivery is hushed and quiet, the character vomitting in the process. It is not only until he shouts for the others to awaken that he bursts into a visceral scream that expresses the anguish of loss.

All in all Kurzel's "Macbeth" is incredibly poignant interpretation that will definitely remain among the finest interpretations of the play.