Just like what the “Bourne” films did for the action film in the 2000s, “Hanna” redefines the action genre for the thinking man’s (or thinking girl’s) action film and is one of the best of the new decade.
The character Hanna (Saoirse Ronan) might look harmless with her fair skin, long blonde hair and bright, blue eyes, but inside that young, sweet and innocent exterior is a killer waiting to be tested. After all, “Adapt or die” is her life motto. Hanna is a 16-year-old girl trained to be the perfect assassin by her ex-CIA agent father Erik (Eric Bana). Though Erik and Hanna have everything they need living in the forests of Finland, Hanna yearns to experience the real world. But yearning for the real world also means that the two will have to face an old threat from Marissa (a terrific Cate Blanchett). Erik sends Hanna on a mission throughout Europe that leaves her with questions about the world and her very existence.
“Hanna” is an action film with an art house twist. A terrific cast with top-notch talent like Blanchett, Bana and especially 16-year-old Ronan make the film something more than your average action thriller. Blanchett is deliciously evil as one of the most enjoyable action film villains in years in her role as a ruthless intelligence officer. Blanchett masterfully plays her character with as much depth as possible.
The ultimate praise has to go to “Hanna” herself, Ronan, who commands every scene with presence. A cast of colorful characters sprinkled throughout. Notable standouts include a bratty teenager that befriends Hanna (Jessica Barden), an openminded mother (Olivia Williams) and a flamboyant German assassin who tracks down Hanna throughout her journeys (Tom Hollander). But as great as the acting is, the directing is so precise and well maintained throughout the film that Joe Wright’s work can be appreciated in every shot. Wright knows how to compose a shot to tell as much of a story as possible, which helps keep the film from being bogged down in too much unnecessary exposition dialogue that ruins most assassin/espionage films. Though “Hanna” is only Wright’s fourth film, Wright is proving his versatility as a director, having tackled the period costume drama with the recent “Pride and Prejudice,” romance with “Atonement” and contemporary drama with “The Soloist.”
One of the most notable elements of the film is the soundtrack. The film’s music, by The Chemical Brothers, is one of the most dynamic soundtracks since last year’s Oscar-winning score for “The Social Network”. The music balances harsh electronica and light techno fare all while complementing Hanna’s journey of kicking ass and discovering the world for the first time with childlike wonderment.
While every scene is a feast for the eyes and ears, “Hanna” is far from perfect. The pacing of the film can be stop-and-go at times and some of the details of Hanna’s very existence is often brushed off or rushed in exchange for more action sequences and coming-of-age story details. Even the family that Hanna finds herself with has less than realistic reactions to Hanna’s behavior. Despite its minor flaws, Hanna is definitely an adrenaline ride worth catching and admiring as an action film for the new millennium.