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Hanna (2011)

PG-13 | | Action, Drama, Thriller | 8 April 2011 (USA)
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A sixteen-year-old girl who was raised by her father to be the perfect assassin is dispatched on a mission across Europe, tracked by a ruthless intelligence agent and her operatives.

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(screenplay), (screenplay) | 1 more credit »
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529 ( 107)
8 wins & 25 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Johanna Zadek (as Vicky Kreips)
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CIA Tech #1
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Walt
Paul Birchard ...
Bob
Christian Malcolm ...
Head of Ops
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Burton
Tom Hodgkins ...
Monitor
Vincent Montuel ...
Camp G Doctor #1
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Camp G Doctor #2
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False Marissa
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Storyline

Hanna (Ronan) is a teenage girl. Uniquely, she has the strength, the stamina, and the skills of a soldier; these come from being raised by her father (Bana), an ex-CIA man, in the wilds of Finland. Living a life unlike any other teenager, her upbringing and training have been one and the same, all geared to making her the perfect assassin. The turning point in her adolescence is a sharp one; sent into the world by her father on a mission, Hanna journeys stealthily across Europe while eluding agents dispatched after her by a ruthless intelligence operative with secrets of her own (Blanchett). As she nears her ultimate target, Hanna faces startling revelations about her existence and unexpected questions about her humanity. Written by Focus Features

Plot Summary | Plot Synopsis

Taglines:

Innocence can be deadly. See more »

Genres:

Action | Drama | Thriller

Motion Picture Rating (MPAA)

Rated PG-13 for intense sequences of violence and action, some sexual material and language | See all certifications »

Parents Guide:

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Details

Country:

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Language:

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Release Date:

8 April 2011 (USA)  »

Also Known As:

Hana  »

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Box Office

Budget:

$30,000,000 (estimated)

Opening Weekend USA:

$12,370,549, 10 April 2011, Wide Release

Gross USA:

$40,259,119, 7 July 2011

Cumulative Worldwide Gross:

$63,782,078, 7 July 2011
See more on IMDbPro »

Company Credits

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Technical Specs

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Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Danny Boyle was developing Hanna with screenwriter Seth Lochhead in early 2009, but eventually left the project. See more »

Goofs

When Sophie refer to the two Spanish boys she fancies, the next shot shows the boys at a Foosball table. The immediate shot (without going back to Hanna and Sophie) shows them on opposite sides of the table. See more »

Quotes

[first lines]
Hanna: I just missed your heart.
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Crazy Credits

Words are spoken during the credits. At the end of the first song: "Music: A combination of sounds with a view to beauty of form and expression of emotion". And after the end credits: "Schlaf weiter" (sleep on). See more »

Connections

Referenced in Edición Especial Coleccionista: El soltero (2011) See more »

Soundtracks

Hanna's Theme (Vocal Version)
Produced by The Chemical Brothers
Written by The Chemical Brothers and Stephanie Dosen
Performed by The Chemical Brothers feat. Stephanie Dosen
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Frequently Asked Questions

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User Reviews

Starts off as a good film, but ends up as a handful of good ideas, poorly strung together.
12 May 2011 | by See all my reviews

Once upon a time, there was a little girl called Hanna (Saoirse Ronan), who was raised in a forest by her father Erik (Eric Bana). As an ex-CIA agent, Erik taught Hanna everything she needed: hunting, armed and unarmed combat, and all the languages in the world. One day, Hanna was sent out of the forest to assassinate Marissa Wiegler (Cate Blanchett), the woman who murdered her mother.

Joe Wright's latest feature is modern-day fairy-tale that is part revenge-flick, part coming- of-age drama. Like his last effort, 'The Soloist', 'Hanna' has some very good ideas that are let down by bad decisions and occasionally over-powering direction.

The film certainly has a very strong beginning. The concept of a killer child may be screwed- up, but this is offset by the curiosity it arouses. Why has Erik raised Hanna in this manner? Who is this woman they want to kill, and why did she become their enemy?

The storytelling is tight, intentionally drip-fed, which keeps the focus on the moment and makes the assassination plan more dramatic. Well, for the first 45 minutes. After that, Hanna sees the wider world for the first time and becomes distracted – which is both good and bad.

On one hand, it allows some insight into the effects of Hanna's blinkered upbringing. Having grown up killing her own breakfast and making her own fire, she is not prepared for her journey through the modern world. Seeing her flick light switches on and off in awe is one of several touching moments, which add a human side to what could have become another soulless gun movie.

However, Wright doesn't know when to pull back on the sentimentality. The film hits its low point when Hanna hitches a ride with a stuck-up English hippy family, which is meant to contrast the lonely, limited nature of Hanna's upbringing. Ironically, this family is even more dysfunctional than Hanna and Erik, and only succeeds in making Hanna's journey more irrelevant.

Her meticulous plan somehow becomes self-indulgent faux-art, featuring slow-motion Flamenco dancing. The film goes so off-course that it is questionable whether there was a plan in the first place. Is the story intentionally drip-fed, or is there just not very much to tell? For a child raised specifically to kill, Hanna doesn't end up doing very much.

That's not to say that there isn't any action. There are a handful of set pieces, and they are a delight to behold. From a fight in a subway to a chase through a labyrinthine cargo yard, the action is wonderfully shot and expertly edited. Long, tracking shots allow for a high level of clarity and immersion. Even this, however, is sometimes ruined with over-energetic camera-work, turning the film into a music video.

Saoirse Ronan is a good action star, throwing herself into her fight scenes with zeal, but her real strength is her acting. On one hand she seems so genuinely lethal that it's a little scary. At the same time, she has a delicate, innocent aura that makes it hard not to feel sorry for her. This is a layered performance that transcends the generic labelling of 'good' or 'evil'.

'Hanna' is not flawed, but sabotaged. Ronan is superb, and the action is fantastic, but even this is not enough to put the film back on course after Joe Wright steered it in the wrong direction. It started off as a good film, but ended up as a handful of good ideas, poorly strung together.


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