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88As the highly focused Hanna, Ronan - who had a breakout role in "Atonement" - is simply brilliant.
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88As Hanna confronts her past, the movie becomes like nothing you've ever seen. I'd call it a knockout.
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88Hanna is a goofy and exhilarating mash-up of all sorts of things. Luc Besson's "The Professional" comes to mind, as do the propulsive synth-syncopations of "Run Lola Run" and the dark allegorical menace of Grimms fairy tales.
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88Here we have an odd cross between a fairy tale and a high-tech action movie. It could have been a fairly strained attempt at either, but director Joe Wright ("Atonement") combines his two genres into a stylish exercise that perversely includes some sentiment and insight.
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88Saoirse Ronan shines in the title role, a wily, physically-fit and lethal girl.
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88Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery.
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83Hanna's intriguing, disorienting pleasures - the movie is part poetic dreamscape, part sinister spy saga - lie more in the filmmaking flourishes than in the narrative.
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83The resulting adrenaline-packed vehicle delivers a multi-directional sugar rush. It moves so quickly that the bells and whistles blur together.
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May 2, 201180An absurd-sounding concept rendered wholly believable and thrilling by a fearless young actress and a director at the top of his game.
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Apr 11, 201180Wright applies an artful eye to carnage; he and production designer Sarah Greenwood exhaustively deploy their love for finding colors that mirror the characters' psychological states.
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80The beauty of the film and what ultimately makes it more timeless than trenchant, is the way it side-steps the entire issue of Hanna's sex.
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80An unorthodox delight.
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80An exuberantly crafted chase thriller that pulses with energy from its adrenaline-pumping first minutes to its muted bang of a finish.
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78It's a strange and electrifying brew of Hollywood genre tropes recalibrated for a globalized sensibility.
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75Is there a moral objection to be raised about a movie that features a teenage girl as an assassin? I suppose there is, but I couldn't find it in me to object.
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75It's one of those imperfect pictures that manages to command and hold our attention straight from the opening frames.
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75There's some great fun in the film, and a bit of unexpected wit, and lots of action, much of it ludicrous but some quite engaging.
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75Hanna's a memorable creation, a girl who carries danger with her like a plague.
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70Yes, this farrago of fairy tale and sci-fi conspiracy flick is, on one level, howlingly obvious. But there are howls of derision and howls of amazement, and mine were of the latter kind, mostly.
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70Hanna is almost a terrific movie, or a partly terrific one, but all its giddy, improvised wonder resolves into nothing more than a ruthless, symmetrical story about a murderous monster.
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Apr 5, 201170Despite its handsome presentation and cinematic ingenuity, the film never really goes beyond superficial pleasures.
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67A fitfully entertaining movie in an awkward position; too arty for the action crowd yet too unsubtle for more refined tastes.
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63The single most compelling reason to see Hanna is Hanna herself. As played by Saoirse Ronan, who made her first big splash as another morally challenged youngster in Wright's 2007 "Atonement," the character is a fascinating and frustrating cipher.
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63One of the coldest action films in years and an odd showcase for Saoirse Ronan, a deft actress who is one of the few youngsters capable of pulling off action with acting.
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63It rockets along entertainingly enough for most of its running time - only that it's made with a self-importance the story itself doesn't warrant.
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63The film is never more than an amalgamation of other movies.
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60In the end there might not be much to this tale other than titillation, but there's plenty to be said for Ms. Ronan, who was the best thing about "Atonement" and holds her ground against forceful screen presences like Ms. Blanchett and Mr. Bana.
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60The movie has more sensibility than sense, but it seems cunning next to such silly tough-girl fare as "Kick-Ass" and "Sucker Punch."
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60Subtlety is not this movie's strong suit; even the terrific Chemical Brothers score pounds your nerves a bit more than it should.
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58Superficially exciting and handled with great aplomb. But the film is running to go nowhere.
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50When Wright literalizes the fantastic, the movie turns squalid. He does better when he lets his visual fancies roam free. [25 April, 2011 p.88]
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50It's a feast for the eyes, but we're still hungry.
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50Blessed with considerable virtues, including a clever concept, crackling filmmaking and a charismatic star, it ultimately squanders all of them, undone by an unfortunate lack of subtlety and restraint.
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50Hanna doesn't go wrong immediately. It takes at least 2½ minutes.
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50Still, those who meet the movie on its own terms and don't expect a masterpiece may appreciate the commitment of Wright and the actors. Blanchett goes out of her way, for example, to be repellent here.
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50As "Kick-Ass" proved, there's a ready audience for the spectacle of a school-age girl who's a relentless killing (as opposed to texting) machine.
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50The overall enterprise, for all its intrigue and visceral impact, feels overly thought out, affected and forced in its stylization.
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40The forced coming-of-age parable that filmmaker Joe Wright laces with fairy-tale symbolism is heavy-handed from the get-go.
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38Hanna presents the problem of the well-made diversion that is, at its core, repellent.
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25Contrived, pretentious and not worth seeing even for the perverse pleasure of watching first-rate talents make second-rate fools of themselves.