HANNA by Tallbrey

I left the theatre last night, and within five minutes texted both the buddies I went to see the movie with the following message; "I'm not sure what just happened." My thoughts are still scattered all over the place, much like the blood and brain matter of many of the characters in HANNA.


I will start with the highlights- The Chemical Brothers' soundtrack was one of the best marriages between music and film I have ever experienced. Hands down. The music fit so well, during both the slower dramatic points and fast action/chase cuts. I LOVE when solid editing and movements mesh perfectly with the beat, sound, and feel of a song. I have already bought the soundtrack, and am currently listening through it, brainstorming constantly as to what awesomeness I can compile to it.


Storyline- I found there to be a few holes. ***NON-Spoiler*** The entire beginning premise of the movie is father and daughter, alone indefinitely in the tundra forest. As daughter feels she is ready to go on her "mission," she engages a beacon that enables the CIA or CIA-like agency to locate her. Why she didn't just leave with dearest Daddy made no sense. Surprise is an essential element in theory, BUT when making a movie, sometimes you throw logic out the window. You NEED a plethora of well-armed idiots to get slaughtered to make your character look heartless and tough. This is only the launching point of the film, so don't think ol' Tallbrey just ruined anything.




There are two moments in the film that I shall describe as... "Come on. That is ridiculous. You expect me to buy that poo?!?" I know this is a movie about an extraordinary girl with phenomenal abilities to dismantle folks, but I have a line, and they crossed it. Twice. I will not do you the dishonor of telling you what those moments are.     ***Okay, I give you a clue. 1. Army Humvees. 2. Merry-Go-Round.


Plot- I enjoyed the storyline, albeit borderline swiss cheesy. It dragged at times, but for the most part kept a solid pace. Hanna's journey was interesting. To watch her learn, adapt, and evolve. She had two personalities it seemed; She was both a highly trained and capable killer, and a curious coming of age young woman. That is a hard one to pull off. (See casting breakdown below)


Style- One of my favorite things to watch for and evaluate is the style of a movie. Sometimes you cannot even put it into clear vocabulary. It is the overall feel of a movie. Angles. Colors. Editing. Music. Distance from the characters. Focus. Hard to describe, yet palpable. (can be a good or bad thing) With HANNA,  I loved the style. Sometimes the camera was uncomfortably close to the characters. The color usage was beautiful. Scenery was perfect. I will have nightmares of the abandoned theme park/carnival. Director Joe Wright stepped outside his norm to deliver this film. Over the past few years, he delivered ATONEMENT, The SOLOIST, and PRIDE & PREJUDICE. The guy has a wide range of skills.
My only what if... Danny Boyle was originally signed on to direct HANNA. I cannot help but wonder how epic that would have been.


Casting- By and large, a great cast.
Saoirse Ronan, who was nominated for ATONEMENT, was great. Until reading up after watching the film, I did not even relate the two characters as one actress. Briony Tallis and Hanna do not even remotely look like the same girl. They made Ronan look almost as if she was Albino. She is one talented little actress.
Eric Bana is hit or miss with me. He was mesmerizing in MUNICH, and abysmal as HULK. I compare him to a more muscular version of Keanu Reeves, who is far better at accents. If it involves personality or a facial expression besides anger, frustration, or indignation, don't call Bana.
Cate Blanchett is a phenomenal actress. That being said, I was not impressed with her in this film. Her accent seemed fake, and forced. Just something didn't fit well with her in the role of a southern, OCD, CIA-controller with no conscience. I also do not, off the top of my head, have a better option as to who I would have suggested for the role. On paper, Blanchett should've been a star.
My "Amber Alert" was blaring the entire time the creepy long-haired guy was talking to Hanna, dancing around, and helping her. He lived in a creepy candy-coated fun-haus. Sweet madre, I didn't like that. Add one clown, and I was out of the theatre. The British traveling companions were well-casted. I like that we see them through Hanna's perception, and you never get a feel for whether or not they were really as hippie-sh and strange as we are led to believe.
I like the non-verbal Neo-nazi thugs. (Strange sentence. Never typed that before) However, the lead German contract-killer was a slight effeminate man, with bleached flock-o-seagull hair and velour jumpsuit.  Strange call. I couldn't look at him without thinking about Lieutenant Dangle.
Best quote... "I'm the sandman. Go to sleep." Cah-reeeeepy.


*** HANNA - REPORT CARD ***
Music- A+
Plot- B
Directing/Style- A
Casting- B
Ridonkulous moments of fallacy- C-


Overall, I'd have to give HANNA a B or B+. I go back and forth.
Worth seeing. 
P.S. If you appreciate human life, and are opposed to the reckless taking of it, think twice before indulging. haha. You've been warned.