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Wow! What a bizarre film! Unfortunately the few funny moments there were were quite overshadowed by it's completely weird and random vibe throughout.

It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

The right word maybe do not exist in this case. Because the performances are great, the plot is good, the ressurection of the memories from childhood lectures works. And the landscapes are impressive. An admirable thriller. And great job of Saoirse Ronan.

When I first read the plot I wasn't really impressed but watched the movie anyways. And again, and again, and again....I must've watched this movie at least 15 times by now and I still love it. Good story, but even better acting (Good typecast!) and even better music (Chemical brothers). Is the story 100% realistic? Nope. But it's good enough to keep audience immersed for the duration of the film. Really intense movie, especially the container scene and the whistle. Love it.

The film got off to a very promising start, with an interesting premise and indications that it would develop into a thrilling and intense ride.Things started to get muddled upon arrival in Morocco, but the earlier promises continued to entice. By the time we arrived in Berlin, all hope for any promised thrills had evaporated, although there was plenty of intensity - mainly from the music score which, in my personal opinion, was borderline unbearable.The visuals also morphed into increasingly (and annoyingly) self-conscious stylisation, with overly colourful lighting - which made the whole thing resemble oversaturated VHS - and set design that belonged more in a Tim Burton fantasy.The visual symbolism was heavy handed and if everybody had taken their clothes off it would not have been unlike a Ken Russell offering.For the final 30 minutes I was praying for it to end.By far the worst of Joe Wright's films.

RELEASED IN 2011 and directed by Joe Wright, "Hanna" starts off in the wintery wilderness of northern Finland where an ex-CIA father (Eric Bana) has been training his teen daughter, the titular character (Saoirse Ronan), to survive in a harsh world of cutthroat government agents. When the girl's ready, she's introduced to the real world where she's ruthlessly hunted down from North Africa to Germany by a mysterious intelligence operative, Marissa (Cate Blanchett), and her heavies.What I like best about this movie is its uniqueness, stylishness and picturesque globetrotting. This is top-of-the-line filmmaking with a hip, kinetic, quirky tone and superlative score, comparable to "Lucy" (2014) and Tarantino thrillers like "Kill Bill" (2003/2004). It's not a great film because there's not enough depth or mindfood, but it contains a few elements of greatness and is overall entertaining enough.We learn Marissa is preoccupied with Hanna for unknown reasons; so, while she's an expert agent, this obsession is her kryptonite. Subtext-wise, the movie's an obvious metaphor for a child reaching adulthood and the agonies of being a loving parent (preparing them for the world, teaching them necessary skills to survive, giving them increasing freedom, being candid about the callousness of life). It's also somewhat of a fairytale about the relationship between a father and daughter. Later in the film Marissa asks Erik, "Why now?" and he simply replies, "Kids grow up." I liked the dichotomy of the so-called normal banality of the civilians compared to the single-minded cold-bloodedness of the agents. If you object to the sometimes unwieldy fight scenes, go parent a child, wait eighteen years, then view it again and see if you feel the same. The film's often thrilling, but don't approach this as a straight action flick or you'll probably be disappointed.There are low-key things that are clumsily explored, like the RV family perking Hanna's curiosity about life (remember she grew up isolated in the northern wilds), but this was an obvious mechanism to make us feel bad that she was on this life-or-death mission, and different than these "normal" kids, yet at the same time special and more exciting, which is how the daughter & kid brother viewed Hanna. The individual used as a tool is hardly innovative, but I nonetheless appreciated this take on it.THE FILM RUNS 111 minutes and was shot in Finland, Morocco and (mostly) Germany. WRITERS: Seth Lochhead & David Farr.GRADE: B+