llVIU I think google managed to create AI with more character than Hanna. It's like Hanna doesn't have a brain at all... she seems so shallow and from another planet. And of course, she's a 40 kg who can easily take down guys 3 times her size. Because in every action movie, the main character has to be someone with super duper kung fu skills.We barely get any story behind characters... no clever action sequences, nothing. and there WAS room for hanna to act all amazed at society, but no. It seems like she fits perfectly into a society that she has never even SEEN before in her life. No consistency, no explanation, nothing. Lame as hell. Ending is crap and unfinished. I bet the script for this movie was less than 3 pages.One good thing about this movie is that it makes other movies like the matrix, seem so much better in comparison. You now have a scale to compare a good movie with depth (matrix) with a shallow movie with no depth (hanna).

Apu Garnesh Basically, Jason Bourne, played by a 15-year-old or so Saoirse Ronan, but less convincing, logical, or entertaining (the pace was often way too slow).The fight scenes involving Hanna were especially unconvincing. The container fight scene at around the 1:14 mark was especially unconvincing and took me out of the movie. The three goons have her, then the teen actress that is Saoirse Ronan grabs and "tosses" the goon aside. It was obvious Ronan (try as she might) wasn't exerting much strength (and the actor playing the goon was doing most of the "self-tossing").(Reading up on the director Joe Wright, one sees that he specializes in drama pieces and has no experience with action movies. This, of course, could have been remedied by a capable crew, assistant directors, stunt team, etc. but evidently these were not available.)As many have noted here, there was too much left unexplained. Or more likely, there was no good or logical way to explain most of it. This *might* be OK in some sci-fi or magical realist film, but Hanna was (like the Bourne movies) depicted as set in the (mostly-)real world.One small example: At the aforementioned fight scene, Hanna has just easily defeated two of the three goons. The only one left is the quirky, whistling guy who's middle-aged, balding, slightly porky, and doesn't seem especially fit. He is running towards her at a comically slow pace and panting. Instead of just easily defeating him as she should be able to, she chooses to escape by jumping into the water.

Sissy Taylor Amazingly done with great acting and lots of brilliantly crafted action sequences. Not a boring moment. Saoirse Ronan is just so, so good. Don't mess with Hanna! Cate Blanchett fits into her role as a bad guy and Eric Bana is excellent. The critics have seriously underrated this movie. Joe Wright directs this movie in the same masterful way he did Atonement. Highly entertaining and original Grimm fairy tale which is beautifully structured.

Wuchak RELEASED IN 2011 and directed by Joe Wright, "Hanna" starts off in the wintery wilderness of northern Finland where an ex-CIA father (Eric Bana) has been training his teen daughter, the titular character (Saoirse Ronan), to survive in a harsh world of cutthroat government agents. When the girl's ready, she's introduced to the real world where she's ruthlessly hunted down from North Africa to Germany by a mysterious intelligence operative, Marissa (Cate Blanchett), and her heavies.What I like best about this movie is its uniqueness, stylishness and picturesque globetrotting. This is top-of-the-line filmmaking with a hip, kinetic, quirky tone and superlative score, comparable to "Lucy" (2014) and Tarantino thrillers like "Kill Bill" (2003/2004). It's not a great film because there's not enough depth or mindfood, but it contains a few elements of greatness and is overall entertaining enough.We learn Marissa is preoccupied with Hanna for unknown reasons; so, while she's an expert agent, this obsession is her kryptonite. Subtext-wise, the movie's an obvious metaphor for a child reaching adulthood and the agonies of being a loving parent (preparing them for the world, teaching them necessary skills to survive, giving them increasing freedom, being candid about the callousness of life). It's also somewhat of a fairytale about the relationship between a father and daughter. Later in the film Marissa asks Erik, "Why now?" and he simply replies, "Kids grow up." I liked the dichotomy of the so-called normal banality of the civilians compared to the single-minded cold-bloodedness of the agents. If you object to the sometimes unwieldy fight scenes, go parent a child, wait eighteen years, then view it again and see if you feel the same. The film's often thrilling, but don't approach this as a straight action flick or you'll probably be disappointed.There are low-key things that are clumsily explored, like the RV family perking Hanna's curiosity about life (remember she grew up isolated in the northern wilds), but this was an obvious mechanism to make us feel bad that she was on this life-or-death mission, and different than these "normal" kids, yet at the same time special and more exciting, which is how the daughter & kid brother viewed Hanna. The individual used as a tool is hardly innovative, but I nonetheless appreciated this take on it.THE FILM RUNS 111 minutes and was shot in Finland, Morocco and (mostly) Germany. WRITERS: Seth Lochhead & David Farr.GRADE: B+