and the chemical brothers score man, don't you forget about that...
Kind of your typical badass-chick movie, vastly overdone. Interesting use of the family she travels with, though (adds a more...relatable/human experience to the plot?). Love love loved the soundtrack, probably my favourite part of the film. Also had some great artsy shots (ex. her escape, running through the slitted tunnel).
Incoherent and badly executed. Altering different styles and cultures made it feel messy, like it doesn't really know where it's going. It also obstructs the film from developing its own, solid atmosphere. The action sequences where lazy, uninspired -and so was the climax- and left me unsatisfied. The good acting couldn't save it, and the plot holes and terrible editing just helped it for me to dislike it even more.
I feel like half of the cast may had to be in on the campier aspects, at the very least Tom Hollander as a Eurotrash gentleman who seems more fit for the Nihilists in The Big Lebowski seemed most aware. But it is nonetheless a very enjoyable, cheeky, action B-movie with an ace score by The Chemical Brothers. Ronan's compelling and Blanchett is in a role that drag queens should study. Beautiful if obvious imagery.
I feel it is a film which is enjoyable and good, but could so easily be great, if it used the characters and universe a bit more, fleshed them out more. Eric Bana, Blanchett and Saoirse Ronan are all fantastic, and the music is also mighty impressive. The ending really lets it down a little, but the plot has a real zip and bounce to it which drags you in until that point.
It's not the best action film ever, but it's got literally the greatest film soundtrack of all time (by The Chemical Brothers). That alone makes it worth watching.
Kind of interesting and a bit original, but had a hard time understanding it. Especially confusing was Cate Blanchett's motivations. Still not sure why she wanted Hanna and Erik dead. Hanna made me think of Christopher Walken in A View To A Kill. Like Walken's Max Zorin, Hanna was also created in a lab as an attempt to enhance strength in human beings. It is an unintentionally funny similarity.
The film does lose some of its potential along the way. But the whole idea is so fantastic, it has such an exciting flow, a thrilling soundtrack, and at the same time some kind of displaced feeling, like if it is all the way out of space and out of time, that it manages to deliver a bizarrely interesting story. For all that I'll risk it with an extra star.
It was like Quentin and Spike Jonze got together to make a movie and forgot to write a story.
With less than original premise, useless ending and moments of moderately convincing acting in between, the film may deliver exciting moments, accompanied by The Chemical Brothers' first attempt of scoring a film, but in the long term it loses its ground and leaves a viewer asking only one question: "...so?"
Little grey riding hood travels to grandma's house and is swallowed by the jaws of the big bad wolf. [It's] Laika / fairy tale [get it] - the Brothers Grimm are explicitly referenced, while the dog sent into space - purpose-bred for the mission and ultimately expendable - becomes a beautifully rendered metaphor for the character's journey into being. Though it falls just short of perfection, it's still worth it for those extraordinary moments where Wright, via cinematographer Alwin H. Kuchler, channels the poetic ambience of early Lynne Ramsay, and for Saoirse Ronan's remarkable performance.
Here we have a thriller that's actually, surprisingly, largely thrilling. Completely willing to give it a pass on the dotty pacing near the end on the basis of its commitment to its outlandish characters and situations (albeit settings that seem all-too-Euroguidey) and a heroine providing a rare pulse in these sorts of movies. Quite simply, Hanna will kick Jason Bourne's ass.