Macbeth doth come to Cannes, thundering into Competition and wrapping the 68th Cannes Film Festival with a lunge through the Palais Des Festivals at 8.30am, waking up those slumbering critics who stayed on with its bass-y, droning score.A tale of sound and fury indeed, Justin Kurzel’s original take on a 400-year-old play came at the tail end of a very refined, stately run of arthouse titles. The very first shot is of a corpse of a child being lowered into the ground as his parents, Lord and Lady Macbeth, grieve by the graveside, so Kurzel closed the festival with a statement of intent, loosening Shakespeare’s prose.Ghosts, walking spirits, bloody corpses, child soldiers on the fens and the mystic witches wreak their revenge on the Thane of Cawdor (Michael Fassbender) and his pallid wife, played by Marion Cotillard.If the central relationship is slightly unhinged – the French-accented Lady Macbeth never seems that vital against her full-blooded husband – the film never loses steam, with impressive Dark Ages production design and apocalyptic battles, all set in a bitter, brutal environment. Never has Scotland looked so cold.Critical reception was lukewarm, but in defence of Kurzel and his team, it has been a long…