Stuart Miller Joel Coen’s “The Tragedy of Macbeth” is, among other things, visually gripping, a stark, haunting dreamscape that often seems to exist outside of time. While the film is carried by Denzel Washington and Frances McDormand, much has been made — justifiably — of Kathryn Hunter’s eerily limber witch: you can’t look away as she bends and contorts, calling to mind a real-life Smeagol.But the movie starts with a whiteout, and so we hear Hunter before we see her. It pulls viewers in and reinforces the notion that this nimble performance (she is echoed into all three witches) is not merely a physical marvel or a gimmick.