Eric Bana’s in Hanna. (That rhymed, Marge, and you know it rhymed, admit it.)

First, let’s get the things I’ve already said on Twitter and Facebook out of the way. This film has a shockingly thin storyline and depends heavily on the viewer’s familiarity with such concepts. It offers nothing new of its own, but hopes that setting, general exoticism and a fragile looking, pretty German girl will fill in the rather gaping holes.

The problem here is that artsyness seems to have won over much of the smart set. But, in my mind, artsyness constitutes quiet characterization, not a complete lack thereof. The long lead-in with father and daughter living in rural obscurity works because ERICBANAISDELIGHTFUL. ::ahem:: No, because his desire to keep it secret, keep it safe is clear and is clearly the entirety of his affection if her strange collapse-hug is any indication. His disappointment in her wanting to see the world is palpable, as well.


And then the movie forgets to write itself. He leaves (what?), she gets got and people start dying. The Cate Blanchett doesn’t even get a personality, she gets to be a caricature. Red-headed Texan who brushes her teeth too hard and lacks a conscience. Why? Who knows. How’s she getting away with this stuff? Can’t say. CIA is simultaneously omnipresent and also oblivious. Until that phone call near the end. (Huh?)

The best part of the movie? The little British girl. Hilarious. Actually her whole family is pretty clearly presented, which is…strange? Perhaps I’m not giving this trying-too-hard film enough credit. Surely they couldn’t have accidentally created a fleshed-out if unpleasant couple amidst a world of faceless, soulless, MOTIVATION-LESS operatives. Perhaps – STAY WITH ME – the family further demonstrates the lack of humanity inherent in this world of clandestine missions and lawlessness. Or maybe PFFFFFFFFT. You didn’t know the difference between a character and a caricature.

There’s this Grimm’s Fairy Tale motif carrying on throughout the movie, first in passing and then in a tsunami. I guess that’s clever, especially considering her heritage, her lack of a childhood and the nature of the stories themselves? But again, it becomes so heavy-handed at the end that I worry the director and editor felt sure that nothing else was going to stick and so they hung all hopes and dreams on the motif. Oh and the dude at the house? We get it. EVERYBODY’S KOOKY! Gotta make ’em memorable before…well, you know.

Best shot of the film:

And, yeah. A man raises his teenage daughter off grid, training her like a super soldier for the inevitable day when she must face the woman responsible for making her. Only then will she realize her true identity and that the only person she’s ever trusted is not who she believes. That’s not a spoiler and is also the entire story. Seriously. It should’ve been a remarkably shorter film. But, as my husband kept mentioning (during the movie), the director was overselling it. (At point, I thought the music was actually an ad playing on another program on my computer…)

I don’t usually make a recommendation, as generally a movie review sort of does that on its own. Well, really, I think you should see everything, but especially this because you’re probably a hipster and you’ll love it because I didn’t.

If you’re keeping score, the number of movies that Eric Bana has been helpless to save for me: 4 (The 1st Hulk, The Other Boleyn tragedy, Troy, and Hanna.)


2 thoughts on “HANNA

  1. The film screamed Euro-Indy. I knew 10 minutes in that it wasn’t an American director. Random cuts showing her walk down the hall from like 10 different perspectives is a dead give away.


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