User Reviews (455)

  • Sissy Taylor18 February 2018
    Surreal thriller
    Amazingly done with great acting and lots of brilliantly crafted action sequences. Not a boring moment. Saoirse Ronan is just so, so good. Don't mess with Hanna! Cate Blanchett fits into her role as a bad guy and Eric Bana is excellent. The critics have seriously underrated this movie. Joe Wright directs this movie in the same masterful way he did Atonement. Highly entertaining and original Grimm fairy tale which is beautifully structured.
  • Lee Eisenberg15 February 2018
    there are times when you have no choice but to fight, even in a fairy tale setting
    Warning: Spoilers
    Joe Wright's "Hanna" has to be one of the most surprising - and impressive - movies that I've seen. The action, and the title character's toughness make this one movie that you have to see. I understand that the movie incorporates fairy tale themes - the girl shielded from the world's harshness suddenly has to face it head-on - but it's possible to ignore that and simply admire how Hanna doesn't fear anyone (electrical objects, on the other hand...). I also liked how they play with the audience: at first it looks as if it's a story of a girl and her father living off the grid, but then the real story begins and doesn't let up.

    Having seen it all these years after it got released, it's interesting that some of the people involved in it are now notable from recent movies. Joe Wright directed "Darkest Hour", Saoirse Ronan starred in "Lady Bird" and Vicky Krieps starred in "Phantom Thread". But you can ignore that and enjoy the high-paced action (and pay attention to the social commentary).

    Good one.
  • Platypuschow16 January 2018
    Hanna: A fine piece of cinema
    Hanna tells the story of a man who raises his daughter to be an assassin, when the mission comes around however will she be ready?

    This multi award winning critically acclaimed thriller stars Saoirse Ronan, Cate Blanchett & Eric Bana. Ronan once again steals the show and demonstrates again why she is one of the most talented actresses in Hollywood.

    A thrill ride without being a dumb action movie in many ways it reminded me of Taken (2008) as it has much heart and certainly some smarts behind it.

    Made as a collaboration between American, German & British production companies I can see why it is held in such high esteem. Though I didn't exactly find it revolutionary it is undeniably a well made film.

    Solid cast, great writing and highly fitting score this is well worth anybodys time.

    The Good:

    Well scored

    Ronans performance

    Well written piece of cinema

    The Bad:

    Blanchetts accent

    Things I Learnt From This Movie:

    Ronan makes everyone else look bad by comparison
  • Smartlink22 November 2017
    Underrated psychedelic action revenge thriller..
    You could easily overlook Anna with it's the vague premise. But you should really do yourself a favor and take the plunge, you won't be disappointed.

    With an amazing score made by none other then the Chemical Brothers, Hanna is unique, reminiscent of A Clockwork Orange, this movie has some obvious Kubrickian vibes.

    It's a surreal fairy tale with many references to great works like 1984,Brother Grimm, A Clockwork Orange, Leon: The Professional... It even also reminded me of Run Lola Run, having a sub-themes such as free will vs. determinism, cause-effect relationships.

    Technically brilliant with a few interesting show of camera work (specially in the perspectives), solid acting... And the sound... The sound alone will drag you in, the Chemical Brothers expertly crafted a soundtrack to match it's atmosphere and stylish cinematography with numerous contrast, landscapes and light schemes.

    I cannot understand why anyone would give this 1 star. Even if you hate the story, the actors, the themes. The technical prowess alone is worth at the very least a 5.
  • Wuchak5 November 2017
    European adventure/spy thriller about a real, um, super girl
    RELEASED IN 2011 and directed by Joe Wright, "Hanna" starts off in the wintery wilderness of northern Finland where an ex-CIA father (Eric Bana) has been training his teen daughter, the titular character (Saoirse Ronan), to survive in a harsh world of cutthroat government agents. When the girl's ready, she's introduced to the real world where she's ruthlessly hunted down from North Africa to Germany by a mysterious intelligence operative, Marissa (Cate Blanchett), and her heavies.

    What I like best about this movie is its uniqueness, stylishness and picturesque globetrotting. This is top-of-the-line filmmaking with a hip, kinetic, quirky tone and superlative score, comparable to "Lucy" (2014) and Tarantino thrillers like "Kill Bill" (2003/2004). It's not a great film because there's not enough depth or mindfood, but it contains a few elements of greatness and is overall entertaining enough.

    We learn Marissa is preoccupied with Hanna for unknown reasons; so, while she's an expert agent, this obsession is her kryptonite. Subtext-wise, the movie's an obvious metaphor for a child reaching adulthood and the agonies of being a loving parent (preparing them for the world, teaching them necessary skills to survive, giving them increasing freedom, being candid about the callousness of life). It's also somewhat of a fairytale about the relationship between a father and daughter. Later in the film Marissa asks Erik, "Why now?" and he simply replies, "Kids grow up."

    I liked the dichotomy of the so-called normal banality of the civilians compared to the single-minded cold-bloodedness of the agents. If you object to the sometimes unwieldy fight scenes, go parent a child, wait eighteen years, then view it again and see if you feel the same. The film's often thrilling, but don't approach this as a straight action flick or you'll probably be disappointed.

    There are low-key things that are clumsily explored, like the RV family perking Hanna's curiosity about life (remember she grew up isolated in the northern wilds), but this was an obvious mechanism to make us feel bad that she was on this life-or-death mission, and different than these "normal" kids, yet at the same time special and more exciting, which is how the daughter & kid brother viewed Hanna. The individual used as a tool is hardly innovative, but I nonetheless appreciated this take on it.

    THE FILM RUNS 111 minutes and was shot in Finland, Morocco and (mostly) Germany. WRITERS: Seth Lochhead & David Farr.

    GRADE: B+
  • samuel_ronalds3 November 2017
    A stylistic masterpiece whose multiple styles enrich one another and the story being told.
    Warning: Spoilers
    "Hanna" is an action-thriller film whose script is entirely in service of its spectacle. The story that is unveiled throughout is somewhat clichéd and predictable, yet this is only a minor drawback in what is otherwise a masterful film. The notion of a girl raised as a deadly assassin who must travel the world in order to reunite with her ex-special agent father, whilst evading operative forces seeking to impede her efforts, is a story that serves entirely as a stage, upon which a flourishing display can take place. Yet the display that does take place is not vapid and mind-numbing - instead, Hannah takes every opportunity to enrich the stage it has been set upon. Every character is provided a degree of complexity, often through background and nuanced acting - even supporting characters that aren't central to the plot. The most impressive performance is undoubtedly by Cate Blanchett - although her Southern drawl wavers throughout the film, there are certain scenes where her character displays a very refrained vulnerability, often at the mention of children as a topic of discussion. The result of expounding upon such latent notions within the screenplay is a flurrying demonstration of drama, emotion and even humour - the eponymous character of Hanna even undergoes emotional developments pertaining to being a teenage girl experiencing the world for the first time, despite the film being focused on action and suspense, and not a coming-of-age setup. With the writing forming the stage, and vivid dialogue and impressive acting enriching the stage into a blossomed garden, it inevitably follows that this garden is to be inhabited. It is, and with staggering talent and craftsmanship. "Hanna" is primarily an action film, and this action is superbly choreographed and shot. In fact, the entire film is shot beautifully, achieving a unique and perhaps unprecedented combination of razor-sharp editing and elegant hand-held camera-work. The result is a film that is as sharp as it is graceful, allowing the film to achieve a precise and exacting approach necessary to uphold the action-oriented and suspenseful aspects of the narrative, whilst also imbuing every sequence with an overarching beauty and sense of lyricism. The rapid editing also allows the film to veer deftly between its various tones - emotional, anxious, humorous, etc. - without hovering over one for too long, while the melodic camera work ensures that the quick changes are not jarring, and are instead agile and smooth. Also, the quick pacing of the film allows information to be conveyed at a swift rate, preventing the narrative from stalling while ensuring that we learn as much as there is to learn. There are also many stylistic elements that exist outside of either of these qualities - some emphasize the exhilaration of particular moments, such as whirling 360-degree spins of the frame, whilst otherwise illustrate the overwhelming stress felt by a character, such as jagged montages paired with swelling noises. The cinematography is also an astounding feature - most shots within the film are beautifully composed, some of which are on the screen within the blink of an eye. The soundtrack compliments the film's visual style perfectly - a blend of pulsating electronica and warm melodies. The music is also paired with specific on-screen motions with expert grace - whether the rhythm of a piece syncopates with the flashing of lights within a dark tunnel, or brief yet soaring strings mimic Hanna's leaps across space. The overall aesthetic of the film is highly idiosyncratic - the film is primarily action-oriented, and is highly stylistic in its approach, and often to the benefit of the written material. Hence, "Hanna" could be regarded as an art-house action film - however, the film doesn't possess the aesthetics typically associated with such an area of cinema, i.e. slick, neon-lit visuals. Instead, the film's aesthetic closer resembles that of art-house drama films, perhaps of European cinema. This unusual juxtaposition works perfectly in accentuating "Hanna('s)" beauty and action-oriented intensity, combined with the fact that no single stylistic or technical element is emphasised to a greater degree than the rest - instead, every element flows so fittingly into the other, welding together a radiant mosaic of an experience. The film loses some sway toward the conclusion - the fact that the story serves as a set-up for the spectacle does result in a somewhat unsatisfying payoff - there is little drama and tension exuded from the final confrontation, and the film feels as though it were wrapped up rather than concluded. The main antagonist essentially slips to her death, and it feels like this was written in for efficiency. However, this is a minor drawback in what is otherwise a phenomenal film. Overall, "Hanna" is a polystylistic masterpiece, bolstered by a kaleidoscopic aesthetic and powerful writing and acting.
  • Pedskii28 October 2017
    Léon 2.0. Refreshing movie!
    A young girl grows up to be a fast lethal killer. A bit suggestive picture for a common action movie but I really liked the effort to make it a bit more at the art direction then the blow-everything-up direction. I liked the characters and the story. If you are a hardcore Marvel and DC fan maybe this movie seems a bit boring. But if you liked Léon and Jason Bourne maybe you will like Hanna. A refreshing action movie if you feel like every other Hollywood movie just constantly blow everything up.
  • blaisewolfy3 October 2017
    Characthers Love
    I've gave 7 out of 10. The movie really deserve it.

    I fall in love in this movie How It has start and end it. I love Saoirse Ronan. She did an amazing job, She really fits whole in the story .This girl has amazing behavior , really powerful character (sometimes OP) , She wants to be average, girlish , but unfortunately She can't be. She has an amazing German accent what I liked the most , and how her "father" developed her skills. In my opinion I can't identify oneself with the Father. I didn't feel emphatic , I didn't feel the energy. He looks great, He fights well. The 3rd most important person in this story is Cate Blanchett as Marissa. WoW. Just WoW . She is an amazing actress. Her feels comes true, the anger, revenge , craziness , blood-lust. *clapclap*

    Just Bravo I want to write this so briefly without any story. I just want you to watch it before You judged this movie. 2011 was almost the best year I think.
  • cinemajesty6 September 2017
    Visual Splendors of Neo-Realism
    Director Joe Wright creates a world of mystery and conspiracy in this action drama with occasional thriller elements, carrying the audience on a 105 Minutes (excluding credits) roller-coaster ride of emotion ranging from rage, fear, struggle, stone cold murders to empathetic human exchange at Morocco desert location in which actress Saoirse Ronan cuts her teeth for future acting assignments to come, by training physically and mentally toward spiritual balance in the role of title-given "Hanna", supported by an under-developed part for actor Eric Bana as her father Eric Heller, who has been fleeing for 15 years from former lover and now competing CIA executive Marissa Wiegler, viciously portrayed as the big bad wolf in the woods by Cate Blanchett, building a tri-angle between the actors of relentless conflict potential, which unfortunately comes only to partial flourishment in some precisely executed action sequences combining martial arts movements, full contact combat with gun and knife in constant tracking cinematographic motions by Alwin H. Küchler, who just misses at times the last consequence to make a full frontal impact with unless flawlessly supervised SteadiCam operations, which serve a simple redemption story, where the character of Hanna avenging her father by confronting Marissa; towards signature-given visual story-telling plus a neo-realism soundtrack by Tom Rowlands and Ed Simons (aka The Chemical Brothers). The story-telling tools, which Director Joe Wright had been well established since his Academy-Award-Nominated picture "Atonement" (2007) with a 5-minute tracking scene of actor James McAvoy running the desolated beaches of Dunkirk in WW2, yet finding his limits in translating classic story-telling to visual splendor with the Hollywood Major production "Pan" of an approximately rated net-worth of 150 Millions U.S. Dollars in season 2014/2015 for Warner Bros. Studios, where unforgiven conflicts between fast-past TV producers pair Greg Berlanti & Sarah Schechter as well as on-set changing cinematography between John Mathieson & Seamus McGarvey destroyed a director's vision to rise again with an ascending film "Darkest Hour" in Fall 2017 for independent Working Title productions on story on Winston Churchill standing trail in the 1940s, starring Gary Oldman in the title role, creating buzz toward an excellent performance under heavy make-up in order to find a director's balance again in a character's study despite the former action-driven story-lines as "Hanna".

    © 2017 Felix Alexander Dausend (Cinemajesty Entertainments LLC)
  • Funasian200530 August 2017
    Frustrating Movie!
    How frustrating . It started out so mysteriously good with much suspense and many smart questions to keep the viewers guessing what's going to happen next like who they are and why they have to hide from the world. why did kate blanchett wants the girl dead. And why Eric Bana and Soiarse Ronan have to meet in Leipzig. ALL the questions from the beginning of the movie are left UNANSWERED. It ended with just some shooting and struggling. The End. Now that's a very frustrating movie.

    2 points for the snow scenes in the beginning.
  • dr_john_pollard12 July 2017
    This Was A Great Movie!
    I'm surprised to see any negative reviews, but such is life I guess.

    I just wanted to add that the Director's Commentary is really good and adds to the experience. So if you are fan of this film like I am, this is highly recommended.

    Every time I see or think about this film, I always feel like this is the one film that truly deserved a second film to take the Hanna character further.
  • Prismark1019 June 2017
    Fairy tale spies
    Hanna is a modern day fairy tale, The Brothers Grimm meets Jason Bourne with plenty of lapses in logic.

    Saoirse Ronan is Hanna a teenage girl raised in the wilderness of Finland by her father, an ex-CIA operative Erik Heller (Eric Bana) who since her mother died raised her with the skills of an assassin. Erik realises that Hanna is at an age when she might be ready to see the outside world and the chaos this would bring.

    Cate Blanchett is a senior CIA agent Marissa Wiegler who wants to track down and kill them both. It seems Hanna was genetically modified in a secret CIA experiment many years earlier giving her exceptional abilities.

    Erik activated a beacon and leaves, instructing Hanna to meet him in Berlin. A CIA special forces team arrives to capture Hanna who is taken to an underground complex and escapes where Hanna seems to be very adept in surviving in the modern world such as using the internet when before she lived in a remote survivalist environment.

    Blanchett plays the wicked witch but we have little idea of her motives as to why she even kills innocent people. Once the action stops it becomes a rather derivative euro-plodding thriller. The Chemical Brothers soundtrack just reminds you that it wants to be a junior Jason Bourne.
  • Eddie_weinbauer4 June 2017
    Could have been really good.
    The story of Hanna,is something you get dropped right in the middle off,and then have to figure out the background, piece by piece.

    Eric Bana does and just average job, as her father and mentor. But it doesn't look like he puts much effort in it.

    There is a lot of dwelling on scenes that really are only "page fillers" with no point in them,except to show what Hanna experience at that particular moment. The problem with them, is they dwell to long on them.They are of very little interest to the viewer.Watching 5-10 min. Of gypsy dancing is irrelevant for driving the story forward. And Hanna's expression is the same all the time.So you don't know how she feel about it

    As someone else's pointed out you have to shut of your brain and just enjoy. But it get difficult when the movie can't keep the pace. The old JCV movies managed that quite well.You shut of your brain and just watch.But this one is too long,and too flawed.

    saoirse Ronan could use some more classes in showing emotion with you facial expressions. She unfortunately has a very stone faced expression.

    ******Spoilers**********Spoilers********spoilers*******spoilers** What bother me is the very stereotypical approach to the whole thing. Hannas father(who is an ex secret agent/Assassin) has trained her to be a super assassin.Krav Maga,hunting killing,how to live of the land etc. But have totally failed to train her on social etiquette,and behavior. Which make no sense at all. How are you suppose to blend in when you stick out as a soar thumb. Sure you can't prepare them for everything,when you are just two people in a cabin in the woods.But some basic stuff would be expected.

    I get the feel the movie changed direction, and background on the characters midway. But all in all it's an OK movie. A bit to long for this type peharps
  • Chris Duce8 May 2017
    Terrible movie, average to start but gets consistently worse as it goes along.
    Save yourself the time and aggravation. This is a terrible movie, totally ridiculous on almost every level and at times feels more like a comedy "thriller" due to the absolute suspension of disbelief in scene after scene. The characters are all caricatures of real people, and nothing in this movie is close to believable.

    I don't know why Blanchett or Bana would have agreed to it, other than it probably read better as a script before all these clown actors ruined it.
  • grantss5 March 2017
    Good action-thriller
    Good action-thriller. Slow-building, gritty, plot is very intriguing. Too complex though, with many loose ends which never get tied up. A bit more explanation of certain aspects of the plot was called for, as it would have made the story more coherent. However, it was good that certain details weren't spoon-fed to the audience, being slowly bled in.

    Solid direction. Fight scenes are exciting, without being too plentiful and thus seeming to be the only focus of the movie (unlike many martial arts movies).

    Good performance from Saoirse Ronan in the lead role. Solid support from Eric Bana and Cate Blanchett.
  • wtmerrett9 February 2017
    Not Worth Your Time
    First thing first...Joe Wright needs to learn what screen direction is....wholly crap but it was annoying to watch the scene with the two girls in the tent both facing the same direction and in the same position. A 1st year film student learns screen direction the first day in class...where was Wright that day? This film had such potential but did not come close to fulfilling it's objective. The acting was fine but the story, camera work and lack of plot lines lost me not far into the film. Sad could have gone somewhere. Why all the spinning camera was distracting and did not add to the film in any way. Oh...and I hated the music.
  • oOoBarracuda2 January 2017
    One reason I enjoy planning my film viewing list by coordinating a month's worth of films is the chance to expose myself to films that I would not otherwise see. Hanna, the 2011 film by Joe Wright was one such film. Starring Saoirse Ronan, Eric Bana, and Cate Blanchett, Hanna explores the life of a girl raised by her father with the intention of making her the perfect assassin. Inventive camera-work and an impressive score define Hanna, keeping the audience engaged until the final shot is fired.

    16-year-old Hanna (Saoirse Ronan) has been solely raised by her father in a remote section of wildlife in Finland. Her father, Erik Heller (Eric Bana) is an ex-C.I.A. agent who has made it his mission to train Hanna to become the perfect assassin. Hanna has never been out of the shack she and her father live in but has been taught to hunt and fight, unlike any other teenager. When her father must leave for a mission, it is up to Hanna to traverse Europe, evade capture by the agents sent out to look for her and get to the pre-destined meeting place unscathed to be reunited with her father. Along the way, Hanna uncovers shocking findings that call to question her very identity.

    Cate Blanchett is just brilliant in everything she is in. A strong supporting role in Hanna, she is the one that brought the most depth to her character, leaving me thirsting for more scenes she was in as the film unfolded. Saoirse Ronan, on the other hand, came off very one- trick-pony to me, after seeing this film. I may have been handicapped by the fact that I just saw her in Brooklyn for the first time weeks before watching her in Hanna; nonetheless, Ronan seems to give each character the same characterization despite the extreme differences in roles. The standout in Hanna is its score. Creating the perfect tone for the film, the tonal score is brilliant. The camera-work was also a fun treat while watching Hanna. The angles used and the disorienting shots lend themselves well to full-immersion into Hanna's life that would have otherwise been missing. The disjointed plot was a bit rougher in some places than others, but there is enough pulling Hanna together that makes it a good way to spend a couple hours.
  • YuunofYork12 December 2016
    Forced, simplistic plot drowns out notable performances
    Warning: Spoilers
    I really wanted to like Hanna. Sure, the premise is ridiculous, but there was something appealing about a globetrotting female teenage assassin. I thought the fairy tale elements I had heard about sounded original and borderline literary. I thought Eric Bana's agent had finally chosen a decent script.

    Of course such indulgent expectations were never met. Hanna (Saoirse Ronan) is a young girl living in Finland. All she knows of life comes from her father, with whom she lives off the land hunting and trapping, an outdated single-volume encyclopedia which is the sum of her formal education, and her own instincts. It turns out the pair are hiding from a shady CIA sub-director named Marissa Wiegler (Blanchett) because reasons. The father (Bana) has been grooming Hanna to assassinate this director. It is unclear why. We later learn Hanna has a motive for revenge - but she doesn't learn this until well after she is given the chance to kill Marissa. It could mean they no longer have to hide in an arctic wilderness, but surely data disks and carbon-copied memos and all those willing subordinates? Like actual fairy tales, the why doesn't seem to matter very much.

    It would seem, then, it's been left up to the action to carry the film, but where is it? Hanna is given a way to announce herself to a roomful of operatives just waiting for a 15-year-old transmitter to activate, and is brought into headquarters to face Wiegler. Of course, things aren't what they seem, and Hanna must escape the facility. It's an interesting sequence, all two and a half minutes of it. Indeed, the biggest problem in Hanna seems to be pacing, with a lot of eye-candy up front, a drawn out meandering second act that does nothing but maneuver these characters around Europe, and a fizzled finale. There are further shoot-outs, chases, and assassinations, and while I can admire their realism (the choreography and short duration of the fights, not how they relate to the plot), they take up such little time we're back to globetrotting, or exposition, or unusually late and gratuitous opportunities for Marissa Wiegler to kick puppies. Rarely did a scene feel necessary instead of merely discontinuous. Now here is a scene I suppose we're doing so the baddies can find out that she found out that they found out that she's in this city now, and so on. There is an extended sequence in north Africa where Hanna interacts for the first time with a normal human family (somebody's idea of normal, at any rate), and then tags along in their caravan with upbeat song and dance. The whole thing is odd. Our little assassin may have forgotten all about the first act, but the audience sure hasn't. Interlude or plot point? You decide, someone's got to.

    Peculiar is the word here. I can't fault its originality, but this is a film where almost nobody's actions make any sense - not Hanna's, not her father's, and especially not Wiegler's. The grand reveal (essentially who and what Hanna is) is figured out by the audience in the first scene of dialogue, but requires two hours of film to reveal it to Hanna - and there are no consequences when it is. The villains are (intentionally) caricatured reconstructions from fairy tales - the evil spinster, the big bad wolf - but the hero doesn't fit the mold. Hanna is emotionless and sociopathic (with good reason, we find out), and therefore doesn't work as a relatable vessel. As for the father, his decisions are among the stupidest ever performed by a fictional protagonist since Police Academy.

    And it's a shame, because there is some strong acting here. Ronan, Bana, and Blanchett's characters are inestimably likable (or unlikable, as needed). Blanchett's southern accent breaks in places, but it is a small detail - she's got the timbre of a villain down pat and that's what matters. The film watches like demo footage for Ronan, who doesn't get the chance to emote very often, but is put through a lot of physical activity, deliver lines in five languages, even work with the worst lighting department in the industry (were 70% of this film's outdoor shots done at 6 pm?).

    It seems impossible not to compare Hanna to the Bourne movies. The similarities are many: both plots are utterly ridiculous barely serviceable in moving the story forward, both characters are similar having almost the exact same origin story, both are ostensibly action films. Except with Bourne the studios felt comfortable resting the dialogue and viewpoint squarely on Matt Damon's shoulders, where for some reason Ronan gave them cold feet. Instead Hanna is filled to the brim with a long line of friendly adults (cannon fodder, all) who show up to siphon the story momentarily before shoving off again. That Hanna is written to be a loner does not gel well with the attempts to give her people to care about, either.

    5/10, because it is a film with very interesting goals, just falling disappointingly short
  • climbingtiger9577 December 2016
    a few people had told me to watch this film and looking back i realised i don't think any one of them have actually reached puberty yet !so here we go ,hanna ,so small she probably couldn't knock the skin off a rice pudding !a trained killer ?is that what she was supposed to be ?really couldn't follow a lot of it ,it just jumbles into yet another pile of poop,the ultimate soldier come assassin,nearly broke a rib chuckling ,i mean come on can you imagine her taking on some military guys !!i get sick of film after film where everyones a black ops assassin ,or some 6 stone chick knocking out half a dozen 20 stone guys !and the scene at the start where she shoots a stag ,if you're an animal lover like me ,steer clear its sick and totally no point to it ,except maybe to upset certain members of the audience .im not going to tell you anymore about the film ,just recommend you don't watch this unless you're under the age of about 6 and live in a fantasy world and think one day you will become a black opps assassin,!
  • uchio12 October 2016
    A spy thriller with an interesting twist
    This is an excellent tightly paced spy thriller with an interesting plot twist. Saoirse Ronan gives an wonderful performance as the titular Hanna. Her portrayal is vulnerable, sympathetic, and also bad-ass. Eric Bana and Cate Blanchett also give decent performances, although they are nothing memorable. The soundtrack by the Chemical Brothers adds much to the film. It provides an almost surreal atmosphere to the movie. Some would say that there are glaring plot holes in Hanna. However, there are not in my opinion, worse than any other action movie - certainly no worse than mainstream Hollywood films. This film is a bit quirky, but that is what makes it charming. Hanna is definitely a film worth watching.

    *FYI: I gave the film 9/10 here, but that is just to bring the score up. It's closer to 8/10 IMO.
  • rstoverc12 August 2016
    Alice In Wonderland Remix
    Warning: Spoilers
    This movie has been out for a while and it has fallen under my radar. I finally sat down and watch it and strongly feel it has been based on Alice in Wonderland. You have a strong blonde, blue eyed, girl who can overcome all obstacles. She has trained with the white rabbit who guides her on her journey to defeat the Queen of hearts that they fear. She has no fear and by "coincidence" from the start and finish of the movie stated, "I just missed the heart". Also by chance, Cate Blanchett aka Marissa wears a head laced in bright gold red locks as to portray the queen. The gang Marissa enlists seems to be wearing the same uniform as a deck of cards. The family Hanna seems to follow throughout the movie, seems to be the family of the Mad Hatter. The Magician she runs into near the end who tells her the whole story as if to be Tweedledee and Tweedledum, where he plays both sides but ultimately protecting Alice. This can be a stretch but this movie is no original form but them adaptation of Alice in Wonderland. Overall, great movie and was well executed.
  • wcoleparks21 June 2016
    Immerse yourselves in Wright's unique and captivating world
    Every once in a while a film comes along that completely immerses you into a new and intriguing world unlike any other. Such is the case with Hanna. Joe Wright takes a number of well-worn action tropes and reinvents them into a sort of twisted, kinetic fairytale.

    As the film begins, we see Hanna (Saoirse Ronan), merely a teenager; killing a deer with precision and sureness that immediately makes us aware of the skillset we are sure to see more of. We soon find out that she lives in the remote wilderness with no contact to the outside world with her father, Erik Heller (Eric Bana). Hanna has known no one else apart from him but is comforted by her imagination. Music for example, a term she can recite the definition to at any time, distracts her thoughts as she wonders what it might actually sound like. However, as Hanna becomes increasingly curious about the outside world, her father realizes it is time to tell her the truth. He tells her of Marissa Wiegler (Cate Blanchett), the fact that she wants them dead, and that the second they leave from hiding, they will be hunted until they or Marissa Wiegler are dead. This is about all the backstory we are treated to and only bits and pieces get filled in as the story progresses. But just like any fairytale, it doesn't matter how or why there is a house made of candy out in the woods. It is fascinating nonetheless.

    The incredible cast of characters in this film is almost too many to mention. Of course we have Saoirse Ronan as Hanna, who proved how talented she was well before this film in Atonement. Here she continues to mature and plays the innocent yet deadly character with ease. Eric Bana as her father is slightly underused but shines when he needs to. Especially in one long take where things become increasingly uneasy. Cate Blanchett plays a wicked stepmother type character with an intensity that clearly shows how much fun she is having in the role. She plays the role with a faux accent, which seems to come and go, but that hardly matters when her screen presence is so alluring. The other supporting characters also seem to take their roles and run with them. As much as they may be overacting in any other film, it almost seems appropriate in this fantasy-like world Hanna has found herself in. Cate Blanchett's minions especially immerse themselves in this twisted fairytale. The main henchman always has a tune to whistle. And what could be an annoying affectation becomes a great way to create palpable tension. A family Hanna ends up tagging along with for a large part of the film is also filled with quirky people. Although they could come across as an irresponsible "hippie" type family that becomes a disservice to the film, the characters are treated in such a way that they become just the opposite. Wright, along with the script, does a great job of showing them from an innocent and unassuming perspective just as Hanna views them. Though they made be weird, so is she, so who cares.

    Joe Wright, coming off two beautiful period pieces with Pride and Prejudice and Atonement, as well as the forgettable The Soloist, makes a seriously impressive change here. Though he keeps many characteristics of his early work, he molds them in such a way that they perfectly fit this new genre he is working under. Most impressive are the action scenes. Wright never settles on one way to increase the intensity of a scene. He manages to keep changing his tactics as the film progresses to emphasize a scene's atmosphere. Two scenes in particular are filled with quick cuts and unique camera angles that portray the confusion and disorientation of each very well. It makes us feel as though the characters are trapped in a huge maze with only one way out. Another scene, which I mentioned earlier, is filmed with one long take. Starting above ground and going down into a subway station, the scene impressively builds suspension and doubt as people move awkwardly behind our character to avoid being spotted.

    Apart from the impressive actions scenes, there are many quieter scenes in which Wright allows the characters to hold the attention of the audience. And with Hanna's many encounters with eclectic individuals, this is not a difficult task. However, some of these scenes feel a little awkward compared to the rest of the story. One scene in particular finds a flirty teenage boy who gets a little too close to Hanna and ends up on her bad side. What is played for comedic effect falls very flat. Another shows Hanna finally hearing the music she had dreamed about her whole life. What should be a touching moment where Hanna finds some comfort in the real world feels out of place and very insincere. Apart from these few scenes though, Wright's emphasis on characters creates a real bond to every person on screen, which makes it all the more impactful when characters die on screen or off. And keeping with Hanna's twisted fairytale world, every character is in danger of dying. Just like in the classic Brothers Grimm stories, characters, both good and bad, are never free from harm.

    Although all these impressive action scenes and many of the quieter moments work so well on their own, the Chemical Brother's soundtrack really puts them over the top. It immediately heightens the intensity of the action while also maintaining the gravity of the situation when things on screen start to die down.

    So what could be just another generic action film filled with plot holes becomes something else entirely. Despite having those exact problems, Joe Wright turns them into a wholly unique and fascinating world for the audience to get lost in. I was enraptured in this eccentric, oddly crafted fairytale.
  • JAH 900017 June 2016
    Action Flick Delivered in Artistic Package
    Warning: Spoilers
    I don't believe many of the reviewers of Hanna know what the word "pretentious" means. If they do, they must enjoy mis-applying it to undeserving movies.

    What's the pretense? The story is simple. It's not a bad story, it's a basic story. It's neither deliberately convoluted, nor goading in its symbolism. If you can't follow the narrative, maybe Steven Seagal movies are more your speed.

    Easy-peasy summary (spoiler alert): A government agent involved in a classified and illegal embryonic DNA-manipulation experiment goes rogue when he's given the order to terminate a woman he'd recruited, for whom he'd developed a particular fondness. Rather than follow orders, he gathers the woman and her young daughter (one of the test subjects), Hanna, and attempts to go on the lam. But, his 'handler' intercepts him and attempts to gun them down along an empty stretch of highway. Her shots cause a car crash, but the three escape and run. The mother is finally shot, and the agent and Hanna succeed in disappearing.

    The agent spends the next 13 or so years raising, educating, and training Hanna. He does this with a mission in mind - a revenge scheme to be carried out when the agent is satisfied that Hanna is prepared and mature enough to decide.

    The rest of the movie is Hanna's tribulation after setting the revenge scheme in motion. It's sprinkled with moments of self- and world-discovery and some realizations about her father-figure, but it's still just a standard adventure with a heroine facing obstacles and adversaries on her way to achieving a goal.

    I really don't see what there is to complain about, overall. There are technical faults, and a few moments that were less than believable, such as her grappling the underside of a Humvee coming out of a manhole in a split second. Hello, massive spinal injury. But, it's an action flick about a genetically-programmed perfect soldier. It's supposed to contain absurd near-super- human feats.

    Is it "derivative?" No. Unless every romantic comedy is derivative. Unless every war movie is derivative. It's a formulaic piece, sure, but it doesn't rob another work. It's a spin on an idea. There are all sorts of ways to spin the "let's cook up a perfect soldier/human being" idea. From that, we get Universal Soldier, Resident Evil, Captain America, Twins. Four significantly different movies. In Hanna, we get a fifth: "What happens if the experiment is performed on embryos?" with the follow-up question, "What if one of the children is raised outside the control of the scientists/spooks?" with the bonus question "Yet, what if the kid is still trained to be lethal in combat?" and for extra fun, "What if the kid is a girl?"

    All of that makes Hanna quite unique in its flavor. Add in the visual aspects and the Chemical Brothers score - It's just irrational, to me, to hate on this movie.

    It's certainly not the best I've ever seen, but it's one of my favorites.
  • xxharrison13 April 2016
    Far-fetched action caper.
    An improbable scenario to begin with, it becomes even more far fetched and inane as it progresses. Too much suspension of disbelief is required to account for Hanna's uneven superpowers. She effortlessly outwits armies, adapting to the most varied conditions across continents without prior experience, yet struggles to outpace the cut-price duo sent to track her. There seems little point beyond the actual process of traversing continents. At times it resembles a folksy travel programme, with amiable hippies and Gypsy serenaders, then we're back in a ninja assassin game with shady punks and aimless pursuits. What's it all about? Who cares. The whole thing is risible.
  • dirtysassyliquor25 March 2016
    A sensory delight
    Having watched Hanna for the second time, I thought I'd visit IMDb for a little more info on cast members etc. Whilst here I was amazed at the large number of extremely negative reviews that have been posted. One reviewer even stated that this film was so bad that he felt compelled to set up an IMDb account to warn people how truly abysmal a film this is.

    As a result of the above statement, I felt compelled to create an IMDb account to warn people against paying any attention to such dreadfully negative reviews. Don't even read them, in fact don't read any review which may include spoilers that could hinder your potential to enjoy this film.

    There are many reasons people enjoy film. On any given day you might fancy a comedy, thriller, horror, fantasy, adventure or even something sorrowful. Film allows your mind to run free and without boundary, to experience sights, sounds and emotions that you otherwise might not encounter at that point in time. The rub is that you can only enjoy the true potential that film has to offer if you are capable of allowing your mind to run free and unfettered.

    There is an awful lot to enjoy about this film, it truly is a sensory delight, so long as you can allow yourself to just sit back and enjoy. If you can't do that, are unable to allow yourself just ninety minutes for a flight of fantasy then honestly, don't bother. Just sit in front of the TV and watch the news or some current affairs program.

    Film doesn't have to be true to life, it just has to whisk you away somewhere different for a little while. Hanna does just this and it does it very well indeed.
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