Directed by:
Joe WrightScreenplay:
David FarrCinematography:
Alwin H. KuchlerCast:
Saoirse Ronan, Eric Bana, Cate Blanchett, Olivia Williams, Michelle Dockery, Tom Hollander, Cyron Melville, Jessica Barden, Álvaro Cervantes, Jason Flemyng (more)VOD (1)
Plots(1)
Saoirse Ronan stars as Hanna in this action-packed suspense-thriller about a girl who was brought-up to be the perfect assassin. Raised and trained by her father (Eric Bana), an ex-CIA agent, Hanna is sent out into the world on a mission. As she travels across Europe, Hanna is pursued by agents working for a ruthless intelligence operative with secrets of her own (Cate Blanchett). As she nears her ultimate target Hanna faces startling revelations about her existence. (Universal Sony Pictures Home Entertainment)
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Reviews (12)
The initial showcase of hunting in the style of native hunters built up my expectations, but the following scenes, where Hanna first demonstrates her murderous abilities, hit me like a cold shower. Then, after Hanna massacred the numerous inhabitants of the super-secret military base full of elite agents, my interest fell similarly to the mercury in a thermometer placed in a freezer. This film is not artsy or at least alternative-looking by intent or through its casting. Yes, Saoirse Ronan and Cate Blanchett belong to the top league within their generation of actors. But then what? The content is just as foolish as countless other action films produced purely for commercial reasons. I don't find anything original or intelligent in the film, the point feels like it's from a sci-fi C-movie, and some of the characters, such as the albino killer, relegate Hanna to the realm of pure trash. It takes itself too seriously to be a parody, and if Wright attempted to deviate from the usual genre paths, he desperately failed. Soderbergh went much further in Haywire, and yet he, too, only remained halfway. For me to take a film seriously, it must have a solid foundation and a plot - and in that aspect, Hanna loses on all accounts and only confirms my biases towards the action genre. So I categorically discard it. I'm sorry, Ronan, maybe next time. Overall impression: 10% for both actresses.
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An interesting way to create a film. I had the feeling that someone had come up with a very smart story, sent it via “Chinese whispers” through several morons and then they filmed the result. The border between genius and idiocy can be very thin sometimes and this film steps on both sides of it throughout. It is superbly made, but all too often I shook my head at the stupid things happening on screen (and yet it would be enough to correct the script a little). By the end I laughed out loud several times. Also, the way the final chase with the two female protagonists is put together is nonsense and confusing. PS: Mild thumbs up only for Blanchett’s character – that’s how a charismatic villain should look like. 5/10
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An art-action film about a hit girl searching for her own female identity. I'll probably never understand how someone could push a script like this past the studio bosses, but I won't hide the fact that I loved it. There probably won't be many conquerors of this film in the "weird" box this year. In any case, it's clear that one box is very small for Wright. The chemical music is great, and Saoirse is an excellent actress, but Cate should ditch the negative roles. The Soviet agent has been replaced by an American, the black hairstyle by a red one, but the tragedy is the same. 4 ½.
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So it seems to me that what attracted Joe Wright to Hanna was not so much the opportunity to film action scenes (not that he couldn't, not by a long shot), but rather the chance to plunge a girl with perfect encyclopedic, yet theoretical knowledge into the maelstrom of civilization and see whether she would make it or not. And that's what I liked most about the film. In the end, it wasn't so much about revenge, spies or super soldiers. I was most interested in the main character, played by the devilishly likable Saoirse Ronan, her getting to know the real world, getting close to people and so on. The music, I must say, was not great, but the visuals with long shots and many excellent scenes (both the fight scenes and human scenes, like the conversation under the duvet) trumped everything.
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As a fan of Joe Wright, a huge weight has been lifted from my heart. After the surprisingly average Atonement, he finally proves that he doesn't have to have British history on his side and that he can also bring a "made-to-order" script to the screen with elegance and powerful impact. Hanna can be cold and distant like the Finnish wilderness, but within seconds can switch and suddenly become completely personal and filled with tension. When combined with the teenage perfectionist Saoirse Ronan and the rhythm of the Chemical Brothers soundtrack, he creates an experience that is hard to replicate.
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