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Action-thriller about a 14-year-old (The Lovely Bones' Saorise Ronan), raised by her father to be a cold-hearted killing machine. Directed by Joe Wright (Atonement, Pride & Prejudice).
Hanna (Ronan) is no regular teenage girl: she has the strength, the stamina, and the smarts of a solider. These come from being raised by her father (Eric Bana), an ex-CIA man, in the wilds of Finland. Her upbringing and training have been one and the same, all geared to making her the perfect assassin. Sent into the world by her father on a mission, Hanna journeys stealthily across Europe while eluding agents dispatched after her by a ruthless intelligence operative with secrets of her own (Cate Blanchett).
Saoirse Ronan, Cate Blanchett, Eric Bana, Olivia Williams, Tom Hollander, Michelle Dockery
Joe Wright ('The Soloist', 'Atonement', 'Pride & Prejudice')
Seth Lochhead, David Farr, Joe Penhall, Joe Wright
(M) contains violence & offensive language | Action, Thriller | UK, USA, Germany | Official Website
Add your two cents...
I rarely go to cinemas but went to see this one when it came out after reading some positive reviews. I wanted to leave the theater after the first 15 min, utterly annoying and absolutely rubbish. No plot, no acting, no character, no dialogue, and worse of all - horrible score (music). What they were thinking? Nothing make sense! Avoid.Reviewed by Daniel Moussa
Such as Disappointment
This movie was warmly recommended by the Video Ezy store person, but it turned out to be horribly disappointing.
The background music is particularly distracting and it sounded like it came straight out the 70's. The plot was actually okay, but ran far too long and was very slow moving. Despite this, Saoirse Ronan's acting was brilliant.
A.V. Club (USA)
Superficially exciting and handled with great aplomb. But the film is running to go nowhere.Click to read full review.
Chicago Sun-Times (Roger Ebert)
Here we have an odd cross between a fairy tale and a high-tech action movie. It could have been a fairly strained attempt at either, but director Joe Wright ("Atonement") combines his two genres into a stylish exercise that perversely includes some sentiment and insight.Click to read full review.
An absurd-sounding concept rendered wholly believable and thrilling by a fearless young actress and a director at the top of his game.Click to read full review.
The overall enterprise, for all its intrigue and visceral impact, feels overly thought out, affected and forced in its stylization.Click to read full review.
Los Angeles Times
Blessed with considerable virtues, including a clever concept, crackling filmmaking and a charismatic star, it ultimately squanders all of them, undone by an unfortunate lack of subtlety and restraint.Click to read full review.
New York Times
In the end there might not be much to this tale other than titillation, but there's plenty to be said for Ms. Ronan, who was the best thing about "Atonement" and holds her ground against forceful screen presences like Ms. Blanchett and Mr. Bana.Click to read full review.
Total Film (UK)
Fascinating. Wright confounds expectations with a wholly original genre mash-up, anchored by the splendid Ronan. Offering a unique worldview, even Blanchett and Hollander’s sore-thumb casting adds to the strange texture.Click to read full review.
An exuberantly crafted chase thriller that pulses with energy from its adrenaline-pumping first minutes to its muted bang of a finish.Click to read full review.
Matt Glasby, Flicks.co.nz
Of the (too) many things Hanna undoubedly is – action yarn, travelogue, coming-of-age drama – it feels most like a music video homaging Besson (Leon, The Fifth Element) and Bowie (The Man Who Fell To Earth).
As a Chemical Brothers score thumps and skitters, Atonement director Joe Wright juxtaposes Saoirse Ronan’s china-white face against a kaleidoscope of ever-changing industrial and exotic backdrops, with choppy editing, fairytale symbolism and miscast actors all thrown into the mix.
Like Natalie Portman in Leon, Hanna (Ronan) is a pint-sized assassin who’s capable at killing but clueless in the ways of the world. Leaving her dad/trainer (Bana playing, we think, Scandinavian) behind in the Arctic, she heads off round Europe to avenge her mother’s death, encountering Blanchett’s evil operative (Deep South), Hollander’s camp killer (German) and all manner of dwarves, henchmen and heinous accents along the way.
As the heightened imagery reminds us, Hanna is an Alice adrift in her own violent Wonderland, but Wright fails to establish a base reality for the film, which flits and flickers nonsensically past – a patchwork of flashy moments, none of which quite stitch together. The fight scenes, though few and far between, are excellent, particularly Bana’s U-Bahn smackdown that takes place in one impossible Matrix-y take, but most of the time Wright simply throws everything he can think of at the screen like the promo director he used to be. Great soundtrack, though.