In close proximity relating to the story associated with ‘Kick-Ass’ and ‘Sucker Punch’ – and moving forward with Hollywood’s unexpected obsession with young girls who combat just like killing machines – comes along ‘Hanna’, a considerably unique action-thriller starring Saoirse Ronan as a 16-year-old motherless girl brought up by her father in a remote, snowy woodland in Finland. The rugged dad Erik (portrayed by Eric Bana) is really a CIA operative gone rogue, and he has been training Hanna from childhood to hunt, fight as well as speak quite a few other languages. From the film’s very starting scene you realize she’s learned how to adapt to be able to survive.
We first notice the girl following a reindeer over a frozen landscape. The girl shoots an arrow at the beast, which drops to the ground a couple of moments later, after attempting unsuccessfully to flee in spite of the wound. Standing above the wounded animal Hanna dryly observes: “I just missed your heart”. Before you know it, she has brought out a gun and blown its brains out. While she sits down in the ground to gut the animal, Erik sneaks up from behind her to show exactly how she could possibly be killed if she lets her defense down. Hanna proceeds to take part in a fierce hand-to-hand fight with him to make the point that she’s usually prepared. No surprise that shortly after when she asserts she’s all set to go out into the world, Erik does not protest. They part ways, and nearly instantly they are being pursued by the ruthless CIA agent Marissa Wiegler (Cate Blanchett).
Director Joe Wright came up this action-movie idea with Hanna’s pursuit of humanity in the real world. The film’s amazing irony, obviously, is the fact that Hanna can easily look after herself and bring men down to, yet has not had a friend or felt love. And that’s why there is beauty along with a touch of wit during her scenes with a touring British family she runs into, and especially with their young daughter who is of a comparable age.
Where the film falters was in its effort to combine all of that unusual, fairytale-like metaphors using the expertly choreographed actions. There is certainly a great single-take tracking shot by which Erik is followed into an underground parking area by one of Marissa’s men, and where he should vanquish her henchmen who all of a sudden appear and attack him. An additional properly carried out sequence is in which Hanna dodges Marissa’s cronies in a deserted dockyard.
Overall, it is a good action heroine film wherein a girl is actually the lead star and much combats are being given emphasis in the movie.
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