So, last Friday I decided to pick up a movie from Buster Box (my nickname for the Blockbuster Kiosks), and was pleasantly surprised to see Hanna as one of the choices. This was a movie I had wanted to see when it came out, but for some reason or another never got around to it. So, for all you readers who’ve seen it and know how great it is, this could be a boring read. If you who haven’t seen it, then read on and enjoy me being more of a movie aficionado than you.
Synopsis: Hanna is raised in the middle of nowhere by her “father” to be a killing machine. When ready, Hanna’s mission is to kill some “crazy spy chick” who is out to kill her and her “father.” CSC is also responsible for the death of Hanna’s “mother.” When Hanna is ready to embark on her mission, her “father” pulls out a red doomsday device (homing signal) that alerts CSC to there whereabouts. Girl and “father” make plans to meet up after the mission is complete, but of course things go wrong leading to an all out chase where everyone is trying to kill everyone else. Oh, and there’s a twist in there that answers the question: “Who or what is Hanna?” Spoiler Alert: She’s not a cyborg.
Plot: Despite my bad rehash of the story line, it’s actually not bad. It definitely has characteristics of stories we’ve all seen before i.e. The Bourne Identity. But, call me crazy. I dig the idea of badass kids kicking ass and taking names in an un-Spy Kids kinda way. Ever since Hit Girl stole the screen in Kick Ass (wow, did not see that redundancy coming), its been a wrap for me.
Cinematography: Holy mackerel! Soooo good! Loved the intensity of the tight camera shots in this movie. I mean it felt like I was right there with the characters, not knowing what was coming next until my head was blown off. This effect also intensified the franticness of being on the run. The entire time I was on the edge of my seat (wait, I was in bed, so on the edge of my comforter?) just waiting to see what would happen next.
I think the best example of the aforementioned camera work is when Hanna escapes from the underground bunker where she’s held captive by CSC. The lighting, the camera angles, the music all just work together perfectly to make this is an exceptional scene.
Acting: Saoirse (don’t ask me to pronounce that) Ronan was superb as Hanna. She delivered the perfect mix of calculated cunning, cold efficiency and childlike naïveté that was just spot on. I laughed at her awkwardness around electricity and boys, but shivered when she delivered the line, “I just missed your heart,” and the subsequent bullet to her victim’s brain.
Pair that with Cate Blanchett playing Marissa (a.k.a. “CSC”) and man, you’re just salivating to see these two forces collide. Marissa is just as cold and calculating as Hanna, but you’re thrown off by Cate’s flawless execution of a southern drawl. You’d expect Marissa to sip mint juleps with you on the verandah not mastermind your imminent demise with pinpoint accuracy.
I’d also like to give a quick nod to the supporting actors who played the Neo-Nazi, gay assassins working for Marissa. Hilarious and deadly. Come to think of it this character duality seems to be a theme – one that Eric Bana as “Erik” fails to capture. He was the worst actor in the entire film! And what was with that accent? Channeling Arnold Schwarzenegger much? “Hanna, GET TO THE CHOPPA! NOW!!” I guess being the only eye candy in the entire movie means we shouldn’t expect too much in the way of true talent.
Conclusion: See this film if you haven’t. I think you’ll enjoy it.
Best Line: Do I really have to type it again? Come on!