Kurzel has a lot to say, and he makes several interpretive choices of Shakespeare which may feel unorthodox to some, but are mostly welcomed reimaginings of the text. It's all creative to be sure, and it's an admirable effort to add depth to the titular character and his wife...but I think it takes away from the power of Shakespeare's words and original intent. Sometimes I believe he made his interpretive choices not because they'd bring more force to the play's intent, but merely because he thought it would look more impressive.
There is a sinister, mocking, darkly funny quality to Shakespeare's Scottish play that doesn't quite get translated here. Although the original words mark a tragedy to the core, there is little of a thane seduced by power, words from women both witches and from the one bound to him, and more of a man that descends into an inebriated stage. However, it's more of a preference on my part.
And that, as I said from the beginning, was my chief problem with the film. Many many kudos to Adam Arkapaw, the cinematographer of this movie. He has previously gotten recognition from his stunning depiction of the Louisiana swamplands in the first season of True Detective, as well as the shot heard round the world (if you've seen the show, you know what I mean). Kurzel had a firestorm in his hands though when he brought together Fassbender and Cotillard...and I think that he focused more on the visuals than the two of them.