Macbeth (Justin Kurzel, 2015). I thought at times that Justin Kurzel’s dark and bloody, post-Game of Thrones Macbeth could have been done without any dialogue at all. Words and even actors seem secondary and his sense of mood is so strong and heavy and singular. The chief mood is grief and his version of the story is staged in the long, sad aftermath of an audacious opening scene, with grief evolving into madness and producing hallucinations and paranoia about glorious destiny and real or imagined enemies. The sense of doom is powerfully evoked but it also risks turning into monotony.