I haven’t paid anybody to give feedback on my work yet, but writing was one of my majors in university, and I received feedback from professionals through some school programs (both on my prose and screenplays). Generally, I’ve found that it’s important to stay both respectful and critical while reading the critique; their opinion is always valid and should be given special consideration, but also keep in mind that they’re only one person.
If someone interprets part of the story in a way I didn’t intend, I don’t try to argue it or assume that they’re wrong; I assume that their interpretation is probably supported by the text and that others may come to the same conclusion. Some alternative interpretations are fine, while some are detrimental to the story experience you’re trying to set up. If it’s the latter, I try to find what in the text supports the unintended interpretation and tweak it accordingly. If I have opinions from multiple people, I weigh their interpretations against each other. How prominent the unintended interpretations are and how detrimental they are to the story determines how much I think my text needs to change. Obviously the execution of this differs depending on whether we’re talking about something like a specific word choice or a character decision.
I also take into consideration what supporting information the critiquer would have taken in. For example, if somebody goes into a story being told it’s a romance and somebody else is told it’s a tragedy, they’re likely to have different expectations, which will alter their experience. Watch out for strongly correlated patterns, and you may find that the source of an unintended interpretation is actually outside of your text. These things may be out of your control (e.g. a recent cultural event, such as a public tragedy, may put your text in a different light), but it’s still possible to edit your text to counteract that. On the other hand, if the only people who are reading a text as intended are those who read your summary, then your intended interpretation isn’t supported enough in the text and that also warrants an editing pass. I’ve found that professionals are generally better about identifying their biases from supplementary information, so I consider this less when reviewing their critiques.
Regardless of a person’s experience, I never immediately accept a suggestion on how to execute something. I think it’s more important to figure out what needs fixing and why, and then try to figure out the best solution while using any suggestions as a spring board. As long as you have carefully considered the feedback, as the author, you will most likely be able to find a better, more authentic, and farther-reaching solution. This also ensures that you’ve actually absorbed the information rather than just accepting the “fix” and moving on without learning anything.
As for transferring critique between screenplay and prose forms of a story, I agree with @CassidySavidi that it’s difficult because the forms are very different. I think it’s only really possible when the reason for the critique is at least mostly present in both forms, but that’s rarely the case.
All that said, take my advice with a grain of salt, but I hope this is helpful.