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Raised by her father (Eric Bana), an ex-CIA man, 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 while 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 and unexpected questions about her humanity. (Universal Pictures UK)

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Reviews (12)

Necrotongue 

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English Hanna is quite a peculiar film. Initially, I didn't know what to make of it at first, but as the story unfolded, my initial satisfaction started to fade with each revelation. It bothered me that the filmmakers seemed to think I was an idiot, judging by some of the scenes. At one point, Hanna has what seems like an almost orgasmic encounter with a lightbulb, and struggles to turn off a kettle, but shortly after, she's casually surfing the internet in a Berlin café. It felt a bit off. There were more illogical moments like that, but I seem to have a soft spot for genetically modified assassins. If the screenwriter had chosen a mutant boy as the main character, I likely wouldn't have given it more than one star. / Lesson learned: Tell me how heavy the deer was, and Eric will tell you who you are. ()

J*A*S*M 

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English 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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novoten 

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English As a fan of Joe Wright, a huge weight has been lifted off my heart. After the surprisingly average Atonement, he finally proves that he doesn't only need British history by 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. In combination with the teenage perfectionist Saoirse Ronan and the rhythm of the Chemical Brothers' soundtrack, an experience that is hard to replicate is created. 85% ()

Lima 

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English I admire Joe Wright's work and I think that, despite his last two mediocre films, he's the greatest British talent of our time, but I just don't give a damn about delicate little girls who can beat up a guy a head taller and 50 kg heavier in hand combat. Such stupidly naive screenplays probably don't even belong in contemporary cinema (I hereby salute the 80s). ()

POMO 

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English Progressive, superb work by the director, an excellent soundtrack by The Chemical Brothers and a goodlooking cast meet a mediocre B-movie script. Hanna could have been the most intriguing action blockbuster of the year, if someone had bothered to back it up with a correspondingly interesting story. The story that it does have is no better than that of Salt, for example. Nevertheless, it remains a cool, dynamic experience. If Tom Cruise wished to truly revive the M:I series, he should have entrusted Ghost Protocol to Joe Wright! ()

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