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Raised by her father (Eric Bana), an ex-CIA agent, in the wilds of Finland, Hanna's upbringing and training have been one and the same, all geared to making her the perfect assassin. The turning point in her adolescence is a sharp one. Sent into the world by her father on a mission, Hanna journeys stealthily across Europe, eluding agents dispatched after her by a ruthless intelligence operative with secrets of her own (Cate Blanchett). As she nears her ultimate target, Hanna faces startling revelations about her existence.
Hanna has the plot of a Hollywood action blockbuster but the style of a European art movie--and this unholy hybrid is fascinating to watch. Hanna (Saoirse Ronan, The Lovely Bones) has been raised by her father (Eric Bana, Munich), an ex-covert agent, for one purpose: to murder the American agent, Marissa Wiegler (Cate Blanchett), who murdered Hanna's mother. Hanna thinks she succeeds and escapes, but she's actually being followed by Wiegler, who will go to any lengths to exterminate the girl. Hanna could have been little more than a tween reboot of La Femme Nikita, but in the hands of director Joe Wright (Atonement, Pride & Prejudice) the movie spends as much time on Hanna's budding relationship with a girl on holiday in Morocco as it does on Hanna's capacity to kill. Even the action scenes have atypical rhythms (and one violent sequence occurs in a long, sustained shot that will make film geeks squeal with glee). Hanna is visually sumptuous, emotionally delicate, and completely unlike any other action flick you'll see. The ending goes flat as disappointingly banal plot mechanics take hold, but up until then, Hanna combines genuine thrills, unexpected complexity of character, and an unusual electronica soundtrack into an enthralling film. --Bret Fetzer
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Cate Blanchett, who I adore, FAILED at the American accent; it was noticeable which took me out of the movie few times.
Also, not a big fan of the "Alice in Wonderland" theme.
Hanna is an interesting take of the coming of age story mixed with elements of Huxley's Brave New World-the notion of creating perfect soldiers like Hanna drawing parallels with the creation of these pleasure seeking drug addicted ones found in Brave New World. The problem is that I'm not sure we haven't seen this movie somewhere before, and as Ezra Pound once said "Make it New." To question further, the alternative ending might have been a better fit, than the uh, okay, what now ending we got. For my entertainment, I'll go four stars.
I want her to see this movie. There has been a sharp shift in how women/girls are being portrayed in film, and this is a good example how to make a good story while showing women in a strong positive light.
Hanna's been trained by her father from the time she could walk to do things counterintuitive for a child: survival, extraction, immobilizing the enemy up to and including killing those who are dangerous to her (which consists of pretty much everyone on earth). She has a special nature (that is explained in the film) that allows her to be the very best at all her skills...and she takes to it like coyote-to-carrion.
One cannot help but be empathetic toward this woman/child; thus the movie has us on her side throughout the 111 minute run time.
Eric Bana and Cate Blanchett give their roles vibrancy. Blanchett's acting both with and against character...spooky role for her and she excels at it.