Hanna

Suddenly switching gears from calm, cool, and collected to vibrant, virulent, and violent on multiple occasions, Hanna the movie is a direct representation of Hanna the character. The pale, pint-sized heroine (played with stunning clarity by Saoirse Ronan) never fails to impress and entertain with her straight-faced ability to live up to her mantra: adapt or die. Those three words that have shaped her cold, anti-social existence have been ingrained in her mind by her dedicated father (Eric Bana, trading in his c for a k to play a character named Erik), who skipped out on his special agent job with the CIA years ago and has since decided to raise his unique daughter in the snowy forest. It's a good, solid setup that highlights the recurring theme of family, while setting the stage for a raucous action adventure that isn't always sleek and streamlined, but remains significantly satisfying.

Relying heavily on the deliciously cinematic score by electronic beat masters The Chemical Brothers, director Joe Wright lets the story unfold as a sort of fairy tale/revenge thriller hybrid. One half of the score is comprised of whimsically eerie notes that suggest an unseen sweetness and innocence in the movie's DNA, while the other half is a throbbing collection of blasting beats that provide a wholly exciting and energized soundscape through which Hanna can explore her violent side. Wright continually plays to these musical cues and so it's never too difficult to predict when an action sequence is about to break out or when the narrative is going to take a breather.

The cues may be obvious, but they work well in the context of the movie, because they fully complete the juxtaposition of plaintive drama and explosive thrills. Like Hanna the character, the movie transforms almost instantly in the moments where Hanna must employ her deadly skills in service of self-preservation. The visual identity adapts, so it makes sense that the aural identity does as well. Whenever an action sequence hits, the movie is suddenly as loud as the calmer scenes are quiet. The fight-related sound effects (gunshots, punches, takedowns) are almost deafening at times, which both heightens the adventure and deepens the danger.

Standing in our protagonist's way is icy villainess Marissa Wiegler (Cate Blanchett, good if not great in the role), who has a history with Erik and Hanna. Marissa will stop at nothing to take the pair down, so when Hanna finally decides to leave the snowy forest and embark on her inevitable journey alone, the chase is on for the rest of the movie. Blanchett certainly knows how to play mean and her ruthless dental hygiene habits are enough to tell us that Marissa is a nasty piece of work. Under her command are a group of henchman led by a weaselly, whistling wacko (Tom Hollander, a frequent cast member in Wright's movies) who is far more intimidating than he first appears.

These baddies mean business, but Hanna proves to be an undefeatable target who is always one step ahead of her enemies. The villains are unlikeable enough that it's easy to cheer for Hanna in the midst of such adult obstacles, so even though each of them could be more fleshed out as characters and a couple of them are only there to grunt and get beat up, Hanna's violent successes are still pleasing. Of course, the movie could be even better if Marissa's intentions were less contrived and if the group of henchman appeared to be competent killers, but this version still works quite well, mainly because Ronan is in command of such a uniquely startling presence.

It also helps that Wright really puts in a grand effort when it comes to the action sequences. A single-shot fight between Bana and some well-dressed baddies is exquisitely executed, while a cat-and-mouse game that involves Hanna defending herself in a labyrinth of dockside storage containers may well end up being one of the most memorable action sequences of the year. This particular scene is powered by brilliant editing and the most exciting track of the entire score. Wright nails this scene entirely and the movie greatly benefits as a whole from this singular piece.

Hanna the movie is a lot of fun much of the time, but it isn't without its flaws. The examination of teenage girls in modern society and how Hanna the heroine is juxtaposed against that experience is more commendable for the attempt than for the actual execution. Wright and screenwriters Seth Lochhead and David Farr open up the discussion when they introduce Sofie (a charming, convincing Jessica Barden), a girl around Hanna's age who meets our protagonist along the way and (briefly) introduces her to the concepts of dating and high fashion. Hanna has grown up with almost no connection to the outside world, so her understanding of the modern adolescent girl is essentially empty. Taking a look at this personal disconnect is a good way to go, but the movie proves to have very little to say about the subject.

Wright also struggles to keep the narrative flowing smoothly, as the constant switching between slow, methodical plot-building and rip-roaring, riotous action causes an occasionally rocky ride. But this is Wright's first stab at the action genre (he has two great dramas under his belt with Pride & Prejudice and Atonement, plus one mediocre tearjerker with The Sololist) and so a few missteps here and there are forgivable when the final result is so impressively accomplished. Not all of it works, but Hanna, like the character at its core, is never less than intriguing. At its best, it's a pulse-pounding portrait of a very special girl with a very deadly skill set.

Hanna's strengths are well-honed attributes that rather deftly defeat the movie's flaws. Wright's handling of the action sequences, the juicy score by The Chemical Brothers, and Ronan's steely-eyed performance all combine to create an often exhilarating experience. The movie never quite hits the intended dramatic marks with enough precision to be powerful, but it succeeds as a refreshing action thriller in a variety of ways. When the action genre cliché of repeating a one-liner late in the narrative is employed here, it's actually used to say something about the character and not simply a nod to the audience. Even a small touch like that helps make Hanna stand out as a refreshing entry in this genre. Anchored by Ronan's terrific performance, Hanna is Wright's attempt to adhere to the titular character's mantra. In trying something new as a filmmaker, Wright has recovered from the safe blandness of his last movie. With Hanna, he adapts, admirably, and lives to shoot another action sequence.