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Hanna
(2011)
    
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Director:
Joe Wright |
COUNTRY
Germany/UK/USA |
GENRE
Crime/Thriller/Mystery |
NORWEGIAN TITLE
Hanna |
RUNNING
TIME
111
minutes |
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Producer:
Leslie Holleran
Marty Adelstein
Scott Nemes |
Screenwriter:
David Farr
Seth Lochhead |
Review
Joe
Wright teams up with the talented and unmistakably named Saoirse Ronan
for the second time (the first being
Atonement) in this rich and highly
promising crime thriller entitled Hanna. To a large degree, the
film follows in the footsteps of last year's success
Kick-Ass,
a film depicting an 11-year-old girl and her version of superhero
vigilante justice. In Hanna, we also meet a young girl (aged 13)
with special talents and a desire to right the wrongs done to her and
her family. Except for the fact that the personage is inverted, the
thematics is familiar stuff for most regular moviegoers, but Wright and
his screenwriters David Farr and Seth Lochhead provides a refreshing new
angle early on, as we meet Hanna and her father training in a wintry and
remote Finnish forest where the girl seems to have lived almost her
entire life. The environments are cold, the human relations mechanic,
and the setup strangely fascinating.
The
unknown is often a half-baked story's best friend, and that is certainly
true for Hanna. Director Wright is not in a hurry to reveal the
ostensible mystery or the true colours of his characters. Instead, he
lets his impeccable flair take precedence, and in parts, the
film is almost irresistibly
seductive, with style and visuals far closer
to Stanley Kubrick's A
Clockwork Orange or even Danny Boyle's
Trainspotting
than to the aforementioned Kick-Ass. These parts are right up
there with the very best from the classic British film tradition.
As I
have already hinted at, however, both the fun and grandness dries up.
The story simply isn't as special as the film's first half promises, and
as a result, Wright resorts to a well of irksome chase sequences and
simple scare tactics in his fumbling for an appropriate ending. Of
course, this is more disappointing because of the high standards
Hanna had set for itself, but if you show some goodwill, the film's
many high points is what sticks. For instance the brilliantly written
and acted subplot concerning Hanna and a wonderful, free-spirited
English camping family. The performances are fine too, with Ronan and
Tom Hollander (as an offbeat contract killer) standing out.
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