“The Tragedy of Macbeth,” directed by Joel Coen and starring Denzel Washington in the title role, and “The Power of the Dog,” directed Jane Campion and starring Benedict Cumberbatch, are contenders in the 2022 Oscar race.

Academy Award nominations are to be announced Feb. 8 with the Oscar awards telecast March 27.

“The Tragedy of Macbeth” and “The Power of the Dog” are unconventional, finely-crafted and demanding. The films are, troubling, disturbing and not a particularly fun time at the movies.

Each film is dominated by a top dog: Alpha males, kings of their kingdoms (ultimately, a kingdom of one), flawed men who control through the vices of power and fear.

The screenplay for “the Scottish play,” i.e., “Macbeth,” is written by Coen based on the William Shakespeare play (1606). It’s the first solo Coen film. Ethan told the Los Angeles Times in 2019 that he’s “giving movies a rest.”). The brothers are Oscar recipients: directing, adapted screenplay, “No Country for Old Men,” (2007); director, screenplay, “Fargo” (1996).

In “Macbeth,” Denzel Washington (Lord Macbeth) brings world-weary resignation in an offhand manner, including the key speech (Act 5, Scene 5, Lines 16-2): “full of sound and fury, signifying nothing.”

We’re not talking “Seinfeld” (TV, 1989-’98) here, the self-proclaimed show about “nothing.” Rather, “Macbeth” is about everything: power, opposition, intrigue, warring factions and grief. It’s as relevant as today’s headlines. “Until Birnam Wood comes to Dunsinane” is the warning. It’s borderline. Can you say the Ukraine and Russia?

Washington has a strong yet vulnerable presence. Look for an Oscar actor nomination for Washington, a Screen Actors Guild nominee for the role. Washington is an Oscar recipient: actor, “Training Day” (2001); supporting role, “Glory” (1989).

Frances McDormand (Lady Macbeth) creates a tentative portrayal, not as cunning or conniving as most who’ve assayed the role, but more contemplative. McDormand is an Oscar recipient: picture, actress “Nomadland” (2020); actress, ”Three Billboards Outside Ebbing, Missouri” (2017); actress, “Fargo” (1996).

The witches, symbolized by a congress of crows flocking and perching on rafters, are played by one actress, Kathryn Hunter, who folds her body into seeming impossible contortions (Hunter was nearly fatally injured when as a pedestrian she was struck by a vehicle in Manhattan in 2013. She forgave the driver and they became friends.). Hunter is absolutely frightening and riveting on screen. Look for an Oscar supporting actress nomination for Hunter.

Notable in supporting roles in “Macbeth” are Brendan Gleeson (King Duncan), Corey Hawkins (Macduff), Bertie Carvel (Banquo), Alex Hassell (Ross) and Harry Melling (Malcolm).

The fight choreography is visceral and stunning, especially the final blows between Macbeth and Macduff.

The black and white cinematography, with the early cinema squarish aspect ratio of a 1:37:1 instead of the contemporary wide-screen aspect ratio of 1.85:1, by director of photography Bruno Delbonnel is light and shadow and fog, recalling the great films of Orson Welles and the German Expressionist cinema. Delbonnel is an Oscar nominee: cinematography, “Darkest Hour” (2017); “Inside Llewyn Davis” (2013), “Harry Potter and the Half-Blood Prince” (2009).

The production design by Stefan Dechant (“The Call of the Wild,” 2020) is arches, angles and fantastical landscapes.

The disjointedly effective score is by longtime Coen Brothers’ collaborator Carter Burwell, Oscar nominee: original score, “Three Billboards Outside Ebbing, Missouri” (2017); “Carol” (2015).

“The Tragedy of Macbeth” is of chief interest for fans of Denzel Washington, Frances McDormand, Joel Coen and Shakespeare buffs.

“The Tragedy of Macbeth,”

MPAA rated R (Under 17 requires accompanying parent or adult guardian.) for violence; Genre: Drama, Thriller; Run time: 1 hour, 45 minutes. Distributed by A24.

Credit Readers Anonymous:

“The Tragedy of Macbeth” was filmed on a sound-stage at Warner Brothers Studio, Burbank, Calif.

At The Movies:

“The Tragedy of Macbeth” and “The Power of the Dog” were seen as a self-devised “double feature” at Frank Banko Alehouse Cinemas, ArtsQuest Center, SteelStacks, Bethlehem. The wearing of face masks is required.

Three Popcorn Boxes out of Five Popcorn Boxes

In the midst of the peculiarly unpleasant “The Power of the Dog” is a phenomenal performance by Benedict Cumberbatch.

The storyline in “Dog” is that of a dysfunctional family living on a ranch in Montana in 1925. The characters have so many issues their issues have issues.

Phil (Benedict Cumberbatch) and George (Jesse Plemons) are brothers. George has married a widow, Rose (Kirsten Dunst), who has a son, Peter (Kodi Smit-McPhee).

The whole family comes off as malcontents. Their dour countenances rarely crack a smile. Nobody seems to like anybody else. They make fun of each other. It’s enough to drive one to drink. Rose is driven.

Several back stories are obliquely referenced. Little in the storyline is fleshed out. That’s not true of some of the scenes themselves.

Interior scenes are lensed darkly and exteriors are lenses magnificently in the cinematography by director of photography by Ari Wegner (director of photography, “Lady Macbeth,” 2016). The symbolism is that of a person’s shiny exterior hiding dark secrets.

The score by Jonny Greenwood (Radiohead; Oscar nomination, score, “Phantom Thread,” 2017) is jagged and disruptive, echoing the confused and unresolved emotions of the characters.

Dialogue is minimal. Interaction between the characters is awkward. Scenes are episodic and don’t seem to go anywhere. Subtlety is fine, but when it veers toward obfuscation that’s problematic.

What saves the film, with a screenplay by Campion based on the 1967 novel of the same title by Thomas Savage, are the fine performances directed by Campion.

Dunst gives a fluttery yet taciturn performance that is so believable it’s uncomfortable to view. Dunst received a Screen Actors Guild supporting actress nomination for the role.

Smit-McPhee is completely transparent as a young man who is still approaching manhood. Smit-McPhee received a Screen Actors Guild supporting actor nomination for the role.

Cumberbatch (Oscar nominee, actor, “The Imitation Game,” 2014) commands attention every moment he’s on screen. Look for an actor Oscar nomination for Cumberbatch, who received a Screen Actors Guild actor nomination for the role.

The title, “The Power of the Dog,” is taken from a phrase from the Bible, Psalm 22:20, “Deliver me from the sword, my precious life from the power of the dogs.”

Lord save us from the likes of the characters in “The Tragedy of Macbeth” and “The Power of the Dog.”

At least we can keep them socially-distanced on the screen.

“The Power of the Dog,”

MPAA rated R (Under 17 requires accompanying parent or adult guardian.) for brief sexual content, full nudity; Genre: Drama, Romance, Western; Run time: 2 hours, six minutes. Distributed by Netflix.

Credit Readers Anonymous:

“The Power of the Dog” was filmed in Dunedin, Otago, Oamaru and Auckland, New Zealand.

Three Popcorn Boxes out of Five Popcorn Boxes

Theatrical Movie Box Office,

Jan. 21-23: “Spider-Man: No Way Home” pulled the old switcheroo, moving up one place to No. 1 with $14 million in 3,705 theaters, $720.8 million, six weeks; ending the No. 1 one-week run of “Scream,” which dropped one place to No. 2 with $12.2 million in 3,666 theaters, $51.1 million, two weeks.

“Spider-Man: No Way Home” is fourth on the list of the highest-grossing domestic releases, behind 2009’s “Avatar” ($760.5 million), 2019’s “Avengers: Endgame” ($858.4 million), and 2015’s “Star Wars: Episode VII - The Force Awakens” ($936.7 million). With $1.69 billion in worldwide ticket sales, it’s the sixth-highest grossing film.

3. ”Sing 2” stayed in place, $5.7 million, in 3,434 theaters, $128.4 million, five weeks. 4. “Redeeming Love,” opening, $3.5 million, in 1,903 theaters. 5. “The King’s Man” stayed in place, $1.7 million, in 2,315 theaters, $31.5 million, five weeks. 6. “The 355” dropped two places, $1.5 million, in 2,609 theaters, $11 million, three weeks. 7. “American Underdog” dropped one place, $1.1 million, in 2,164 theaters, $23 million, five weeks. 8. “The King’s Daughter,” opening, $723,150, in 2,170 theaters. 9. “West Side Story” dropped one place, $715,559, in 1,280 theaters, $35 million, seven weeks. 10. “Licorice Pizza” dropped one in place, $659,953, in 772 theaters, $10.7 million, nine weeks.

Box office information from Box Office Mojo as of Jan. 23 is subject to change.

Unreel,

Jan. 28:

“Morbius,”

PG-13: Daniel Espinosa directs Michael Keaton, Jared Leto, Adria Arjona and Jared Harris in the Action, Horror Science-Fiction film. Biochemist Michael Morbius, trying to cure himself of a blood disease, infects himself and becomes a vampire.